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<b>                       THE GODFATHER PART III
</b>

          
                             Written by

                 Mario Puzo &amp; Francis Ford Coppola



<b>                                         FIRST DRAFT. 3/22/79                       
</b>
                         


<b>                         FADE IN:
</b>
<b>                         BEFORE TITLES:
</b>          The screen is black. First we hear the sound of a
          single trumpet playing slowly and sadly, the notes
          faintly resonant as if echoing through the narrow
          streets of some old hill village in Sicily. Now,
          confusingly, we see a slant of light move past us
          and another, and as our surroundings become more
          visible, we discover that we are moving through a
          pine forest lit by shafts of morning sunlight. Now,.
          suddenly, we come out of the trees and find ourselves
          on the Nevada shore of Lake Tahoe.

          It is a clear, cold morning in September of Nineteen
          Fifty-nine. We now see the Corleone compound at
          lakeside, half-hidden by pines and firs. We move
          toward it, past the gates and guard houses, past
          the guest houses, past the kennels for the guard
          dogs, and finally to the front driveway of the main
          house where a conservative sedan is being loaded by
          a Chauffeur and a pair. of large dark-headed men named
          Al Neri and Rocco Lampone. Rocco limps slightly.
          As suitcases are being placed in the trunk of the
          car, the front door to the main house opens and Tom
          Hagen, a trim, serious, balding man in a business
          suit, appears He crosses to the corner of the house
          and looks off.

<b>          HAGEN'S POINT OF VIEW - THE LAKE AND LKSIDE
</b>          Standing by the shore of the lake is a little boy,.
          Tony Adams Corleone, aged about ten. The boy, dressed
          for travel, is looking off at the lake, his back to-
          ward us.

<b>          REVERSE ANGLE - ON TONY
</b>           As he looks out at the lake we might sense that he
           is troubled and puzzled, although he is managing to
           keep his expression stoic. Hagen can be seen in the
          background, by the house 9 After a moment:

                         

                         

                         

                         

<b>          .T
</b>
<b>          2.
</b>
<b>                         CONTINIIED S
</b>
<b>                         HAGEN
</b>          Tony.

<b>                         (THEN)
</b>          Time to go.
          There is a beat and Tony composes himself, turns and
          moves up toward the house and Tom Hagen.

<b>          EXT. FRONT OF TAEOE HOUSE AND DRIVEWAY - DAY
</b>
          The heavy, black sedan is loaded. Connie Corleane
          and a Housekeeper, in uniform, are bringing Mary,
          about five, out to the car. She too is dressed for
          travelling. As they put her into the car --

<b>                         CONNIE
</b>          In you get ---

<b>                         MARY
</b>          Will. Daddy be at the airport?

<b>          - ANOTHER ANGLE
</b>          as Tom and Tony come up.

<b>                         HAGEN
</b>          No. Ere wanted me to tell you both
          how sorry he was.

<b>                         TONY
</b>
<b>                         (TO CONNIE)
</b>          Aunt Connie ..- ?
          Connie would apparently prefer to avoid answering any
          questions.

<b>                         CONNIE
</b>          8e sure and give my love to your
          mother.

<b>                         NERI
</b>          It isn't like you won't be back
          from time to time.

<b>                         LAMPCNE
</b>          I' 11 bet we' 11 all. be together
          for Christmas. Wait and see.
          Tony gems into the car. He locks out the window to--
          ward the house. We begin XXI-N Ti. TZS 2 C 2=17"s

                         

                         

                         

                         

<b>                         E
</b>
<b>          3.
</b>
<b>                         TEE DRIVEWAY
</b>          Hagen is the last one into the car. As it starts down
          the driveway on its way to the airport in Reno, Connie,
          Lampone, Neri and the Housekeeper all wave. The auto-
          matic gate at the foot of the driveway opens. The
          Guard at the gate flicks a half-salute as the Limousine
          passes through.
          TEE GROUP r n FONT OF EOQSE
          As the group breaks, Connie and the Housekeeper going
          back inside, Neri and Lampone drifting off, we pan up-
          ward to a window in the second-story and zoom in.
          Michael Corleone has moved the curtain aside with one
          hand and is looking after the disappearing limousine,
          his expression unreadable-but somehow sad.

<b>          ZNT. AIRLMPR - DAY
</b>          We are close on Tony, looking out the window of the
          airliner, his own expression matching that of his
          father.
          EXT. LOGAN I_?i'Z'E.NATIONAL AI72ORT (STOCE) - DAY
          as an airliner of the period comes in for a landing.

<b>          . YEW ENGLAND COUNITRYSIDE - DAY
</b>          A limousine is moving northbound up Interstate 93.
          Maples on either side of the road are turning' red
          and yellow. We pan the limousine past and continue
          to pan to a sign marking the stateline between
          Massachusetts and New Hampshire.
          r .M. L:MC SINNE - DAY
          It is almost night. Tony is looking out the window
          as the limousine enters the little town of Hanover,
          moves down past the Da. Louth College green on Eleazer
          Wheelock Street and t7 rns right on north Main-
           E`{'.r.'. XAY DAMS' ECUSr. - VIGRI'
           We are an a post box, the name "Adams" on _ts Side.
           We cull back _c '..:cl ude a modes +shi -e, ?aa-story
          ! (ccrrT+_`?-? J

                         

                         

                         

                         

<b>          4.
</b>
<b>                         0 CONTI` :
</b>          clapboard house with giant elms and maples in the front
          yard. The limousine stops outside the house.

<b>                         4
</b>          Under its fanlight, the front door swings open and
          Ray Adams comes out. As her children run to her she
          kneels and gathers them into her arms. We move in
          close on Tony and as we hold, the '' ?NN TITLES A.ND
          CREDITS are over and we begin to hear

<b>          SPEAKER' S VOICE
</b>          our Nation is and has been histor-
          ically the symbol of freedom, of
          justice and opportunity and its
          pecui.iar strength is that no matter
          what our individual background --

<b>          EXT. NAVY AIM MA.RI Z CORPS STADIUM - DAY
</b>
          We are close on a young man, Anthony Adams (Corleone),
          in the uniform of a Midshipman of the Naval Academy
          at Annapolis. We are pulling back as the speaker --
          who is Arne Grundellius, the Secretary of State --
          continues, his accent faintly Scandinavian.

<b>          • CRUNDELLIUS' VOICE
</b>          -- there are no limits to the goals
          to which we can each legitimately
          aspire. And now, as an unpopular war
          is ended in East Asia and we set our
          sights on new goals, I leave you with
          the words of another Sailor ---
          We continue to pull back to discover that we are at
          the Navy and Marine Corps stadium. It is a late Spring
          day and in the early-middle Nineteen Seventies. The
          Midshipmen, their parents and guests, are gathered
          for- the graduation ceremonies.

<b>                         GRQNDELLIIIS
</b>          ' Our will is to keep the torch of
          freedom burning for all. To this
          solemn purpose we call on the young,
          the brave and the strong, and the
          free. Heed my call. Come to the
          sea. Come sail with me.'

<b>                         (THEN)
</b>          I'= sure the entire 3ricade of Mid-
          shimen recogr zes the words o John
          ^p ?aui Vo nes

                         

                         

                         

                         

<b>          S.
</b>
<b>                         CONTINUED:
</b>          During this speech we find we have been. moving through
          the stadium. We find Tony's mother, Ray, among the
          guests. We also see Tony's sister, Mary, about twenty,
          Tom Hagen and Al Neri.

<b>                         ANOTHER ANGLE
</b>          The speech is over and as the audience applauds, the
          Superintendent of the Academy crosses an to Grundellius.

<b>          SIIPER2NTE11DENT
</b>          Thank you, lister Secretary -
          As the Secretary of State crosses back to his seat,
          the Superintendent addresses the microphone.
          SUPERZNT-".j. DENT
          The following First Classmen will
          step forward to receive their
          diplomas.
          The Superintendent consults a list which an Aid has
          supplied- The Superintendent reads off. the first
          t'o names, then

<b>                         0
</b>
<b>                         SUPERINTENDENT
</b>          Trident Scholar Anthony Adams
          At the sound of his name Tony rises and moves toward-
          the Speaker's platform. We

<b>                         DISSOLVE TO:
</b>
<b>          EXT. TEE SPEAF.R'S PL?TFORM - DAY
</b>
          The final First Classman -has received the final diploma
          and is.moving off as a Midshipman runs up to center
          stage, and.-in accordance with long tradition ---

<b>                         MIDS$IPMAN
</b>          I propose three cheers for those
          about to leave us. Eig hip!
          (the Brigade answers
          with a roar)

<b>                         SIN- HIP:
</b>
<b>                         (AGAIN)
</b>
<b>                         HIP :LIP
</b>          The Brigade answers for the th:i.rd time aid as the Mid-
          sh pma.. runs cff, his =lace is taken by a RepreSen- by
          tat.?.ve of the graduating class.

<b>                         0
</b>
<b>          (CCNT TL"ZD) -
</b>
                         

                         

                         

                         

<b>          6.
</b>
<b>                         CON IN = :
</b>
<b>                         FIRST CLASSMAN
</b>          I propose three cheers for those
          we leave behind. Hip hip

<b>                         (HURRAY)
</b>          Hip hip!

<b>                         (HURRAY)
</b>
<b>                         SIP HIP
</b>          ?EA aR=G TONY
          As the graduating Midshipmen give their last full-
          throated response and skim their hats into the air,
          Tony -- half a beat behind the others -- does like-
          wise. We pull back and pan upward to the explosion
          of white hats arching through the air.

<b>                         CAT TO:
</b>
<b>          EXT. NAVAL ACADEMY YA?W -- DAY
</b>
          We pick up a man named Stu Palmateer moving th-rough
          the group of strolling Midshipmen and their guests.
          Palmateer, is a poised, pleasant, tough man abcut
          forty, dressed in the unifora of a Marine Caotai.n_
          He spots Tony in a group with his guests, near the
          0 statue of Tecumseh.

<b>          TONY AND THE OT!ERS.
</b>          Tony is standing with Kay, Mara Hagen and Al Nexi.
          Tony turns as --

<b>                         (COMING UP)
</b>          Congratulations, Tony.

<b>                         TONY
</b>          Thank you, Sir.

<b>                         (THEN)
</b>          Captain Palmateer, I'd like to
          present you to my Mother, Mrs.
          Adams -- my. sister, star,{ ---

<b>                         (THEN)
</b>          And this is Mister 3agen, a very
          old friend, and Al Teri - T used
          to ride on his shoulders when I
          was a little 1:ov-
          Pa: ateer ,as gzeeted the ladies, shaken hands with
          he men, ad l bi.: c appropriately. Nice to .eet u,
          so cn.

<b>           (CL?? T )
</b>
                         

                         

                         

                         

<b>                         K
</b>
<b>          7.
</b>
<b>                         PALMATEER
</b>
<b>                         (TO XAY
</b>          I'm sorry to drag him off this
          way, Mam.

<b>                         (TO TONY)
</b>          Ready?

<b>                         TONY
</b>          (nods, then)
          See you all tonight.
          Tony kisses his mother and he and Palmateer move off.

<b>          EXC. GEORGE, WASEIYGTCN BELTWAY - DAY
</b>          We pick up a car coming along the Washington Beltway
          approaching the CIA turnoff near Langley, Virginia.
          We pan with it, then continue to pan over to a road
          sign which reads, "Central Intelligence Agency".

<b>          LIT. T3E CAR - DAY
</b>          Palmateer is driving. Tony sits next to h.m. They
          make the turnoff to the CIA, go up the access road,
          0 come to a stop at the entrance. As the Marine Guard
          comes out of the guardhouse and up to the car, Palmateer
          is taking out his identification.

<b>          • EXT. TEE MAIN CIA 3UILDLNG - DAY
</b>
          Palmateer and Tony, on foot now, move up to the build-
          ing. They move through the front doors.

<b>          =4T. . CIA BUILD LNG (LOBBY). - DAY
</b>          We are in he gigantic foyer of the CIA building. The
          camera is focused on the CIA motto, etched boldly into
          the white marble wall. It reads: "YE SHALL M TOW T=

<b>          TRUTH AND THE TRIIT$ SEA" MA=- YOU FREE" .
</b>          We pan off the motto to pick up Palnateer and Tony
          as they move through the great, columned rcom toward
          the desk at the end. The Guard at the desk, seeing
          Paimateer' s identification, signals h 1m and Tony up
          to the Badge Office which i.s up a flight of steps on
          the ricnt.

                         

                         

                         

                         

<b>                         I
</b>
<b>          S.
</b>          0 I . CIA BU=SIT MA.DGE OF-vICF,) - DAY
          as Palmateer shows his identification to a Woman
          behind the desk:

<b>                         PPL4MATEER
</b>          Captain Palzaateer.
          (then, indic-

<b>                         ATES TONY)
</b>          Mister- Adams. We have an appoint-
          ment with the D.D.P.
          The Woman gives Palmateer his badge, checking the photo
          on the badge against his face before she does so.
          Palmateer initials the form she gives him as she gives
          Tony his pass and stamps it in large letters: "rust

<b>                         BE ACCCIMPANIED%
</b>          I=. CIA BtJILAING (LOBBY) - DAY
          Within the foyer is another crate separating the foyer
          from the inner sanctum of the building itself. We are
          on the Gate Guards as they check the badges and passes
          of those entering.
          They nod Palmateer and Tony through the gate. We pan
          them toward the bank of varicolored elevators. As
          they go to the elevators we hear ---

<b>          PALMATEER' S VC ICE
</b>          This is a. preliminary interview,
          not binding on either party. The
          next step, if it's agreed to take
          that step, would be a session with
          the Assessment and Evaluation sec-
          tion. Psychological testing.
          Biographical data. Ends with a
          polygraph test.

<b>          SIM. CIA BUILDING (SIXTH FLOOR) - DAY
</b>          We are on the elevator doors as they open and Palmateer
          and Tony emerge. They walk down the corridor with its
          bare, off-white walls. The floors are covered; with
          green vinyl. Only the office doors add color. They
          are painted variously, red, blue and yellow. As they
          go down the long ha. Tway:

<b>          PATZA,E
</b>          ?.ssum ._^_c no serious orobiams cc-me
          to light, y cv will be g..ven pro-
          visional operao_ons apz=va_, effec-
          0 tive fors .x non zhs . di x. q rich

<b>          (C JNT =ED )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          9.
</b>
<b>                         CONTINUED :
</b>          PALMATEER (Cont' d)
          time you would be sent to our fac-
          ility at Camp Peary for a special
          training program --
          Tony and Pal.mateer enter the office at the far- end
          of the hall.
          iT. MOREECUSE'S OFFICE - DAY
          It is a reasonably large office as befits one of the
          top echelon CIA men. Morehouse, himself, sits at a
          large desk. The seal of the Agency is an the wall
          behind him, flanked by the National flag and the
          Agency flag, an standards.
          We are close on Thomas Morehouse, about fifty-five,
          an imposing, silver-haired mar.. He locks up from a
          dossier he's been studying, then:

<b>                         =REHOUSE
</b>          Would you have any objections to
          being assigned to us, Mister Adams?

<b>          ANOT: R ANCLH
</b>          including Tony and Pal steer who sit across the desk
          from Morehouse.

<b>                         TO:JY
</b>          That would depend on the duty,
          Sir.

<b>                         MOREHOUSE
</b>
<b>                         (TO PALMATEER)
</b>          How much have you told ii=, Stu?

<b>          PAL,`?ATEE.'
</b>          Just that there was an assignment
          we thought he'd be suited for.
          MOREHOQSr.
          All right.

<b>                         (THEN)
</b>          We've been authorized and funded
          to carry out a too priority covert
          operation in Latin America. Captain
          Palmateer w lZ be Field Coordinator.
          Your job wou.l.d be s.iasor..
          There is a beat, then:

                         

                         

                         

                         

<b>                         -R
</b>
<b>          10.
</b>
<b>                         CONTMILTED :
</b>
<b>                         MOBS' OTJSE
</b>          Something the matter, Mister Adams?

<b>                         TONY
</b>          Before we go into polygraphs and
          so on, there's something you might
          not know.
          MCB EOUS.c
          Fact is, we know quite a bit.

<b>                         (READS FROM
</b>
<b>                         DOSSIER)
</b>          Adams, Anthony. No middle initial.
          Born New York Nursery and Childs'
          Hospital, rebruary 3rd, 1951.
          Mother and father separated.

<b>                         - TONY
</b>          Divorced.

<b>                          MOREEOUSE
</b>          Divorced.
          Morehouse. scratches the correction into the dossier.
          with a pencil, then:

<b>          MO.'3EHOUSE.
</b>          You were raised in Hanover, New
          Hampshire. Your mother teaches
          school. Name legally changed in
          1963. Attended Phillips Exeter.
          Lettered in ice hockey.

<b>                         TONY
</b>          And baseball.

<b>                         MOREEOUSE
</b>          And baseball.

<b>                         (NODS)
</b>          Your father is Michael Co=l--one, a
          resident of Nevada. Re's principal
          stockholder of Genco International,
          a corporation that deals mainly in
          hotels and casinos, but they also
          have interests in an alive cil com-
          pany, a charter airline, laundromats,
          nursing homes, so on.

<b>                         TONY
</b>          Does this assignment have scmet-h4 n5
          to do wit nv =a;, er?
          tc NT.?w.•'?VZD}

                         

                         

                         

                         

<b>                         I
</b>
<b>          ?I.
</b>
<b>                         0 CONTIYU:
</b>
<b>                         MOREHOUSE
</b>          only in so far as he has certain
          business connections that might
          be willing to help us.

<b>                         TONY
</b>          Y haven't seen my father since I
          was ten years old.

<b>                         MOREEOUSE
</b>          No contact at all?

<b>                         TONY
</b>          I get a Christmas present and a
          check or. my birthday --that's
          about it. As far as I know, he's
          retired. Doesn't see anyone.

<b>                         OREEOUSE M
</b>          Yes. That's why I was anxious to
          have this meeting today -- while
          Mister Hagen was still in Washington.

<b>                         ANOTHER VGI2
</b>          0 as Tony pauses, thinking. After a moment:

<b>                         TONY
</b>          I really don't know if I can help
          you very much, Mister :Korehouse.

<b>                         MOREHOUSE
</b>          Let me ask you a personal question,
          Tony.. Do you love your Country ,-
          (holds up hand)
          I'm not talking about t.'::e Nathan
          Hale kind of thug. Just simply,
          warts and all, do you dish this
          Nation well?

<b>                         TONY
</b>          Yes, of course.

<b>                         MOREHCUSE
</b>          Well, what if w told you -- and
          trying nct to be grandiose -- that
          this one operation might very ael'6
          insure peace on this :iemisnhere for
          the next: f.i t r vea s . Maybe Mora.

                         

                         

                         

                         

<b>          ?2.
</b>
<b>          EXT. A RESTAURANT TERRACE (WASHINGTON) RIGHT
</b>
          We are an the terrace of a pleasant restaurant over-
          looking Washington D.C. The dome of the Capitol
          building is impressively floodlit as are the Washi:g-
          ton monument and the White :louse.
          Tony and Hagen are leaning on the terrace railing,
          looking out. A Waiter has just finished pouring coffee
          for them. As the Waiter moves off, Tony throws a look
          at $agen, then:

<b>                         TONY
</b>          Well?

<b>          HA,EN
</b>          Let me make sure I'm clear on this.
          You're telling me that the Govern-
          ment would like the Corleone family
          to perfatm a service for them --
          probably involving some friends of

<b>                         R
</b>          ours in Latin America.

<b>                         TONY
</b>
<b>                          RIGHT_
</b>
<b>                          AAGEN
</b>          s Where? Who's concerned? What
          would it entail, speci.-46ically?

<b>                         TOUR
</b>          I don't know that vet.

<b>                         EMMIT
</b>          When will you be able to tell me
          these things?

<b>                         TONY
</b>          As soon as they decide I.'m not a
          Russian spy.

<b>          A IOTSM XYGLE
</b>          as Eaaen smiles, shakes his head. Sureaucracy..

<b>                         TONY
</b>          What they'd like to fi:d out. right
          now is: Wctzd you be interested?

<b>                         3AGEI
</b>          :' L... :.et you .c.-tct?•.

<b>                         TCN??Y
</b>          no ?4U save to cheCx i :tv fat er
          (c N'" =NL ?D )

                         

                         

                         

                         

<b>                         IT
</b>
<b>          13.
</b>
<b>                         CONTIWED
</b>
<b>                         HAGEN
</b>
<b>                         TONY
</b>
<b>                         HAGEN
</b>
<b>                         TONY
</b>          I think about Tahoe sometimes.
          Is the fishing still good up
          there?

<b>                         0 HAGZ
</b>          I suppose so. I'm in Vegas most
          of the time..

<b>                         F
</b>
<b>                         TONY
</b>          Those were good days.

<b>                         EAGEN
</b>          Yes. They were.

<b>                         ANOTBER ANGLE
</b>          As Al Teri cones up, looking at his watch.

<b>                         NERI
</b>          You still want to catch that
          shuttle to New York?

<b>                         HAGEN
</b>          Yes. Thank you, Al.

<b>                         (TO TONY)
</b>          Where can I reach you?
          Tony scribbles an address on a card and hands it to
          Hagen. As'he looks at it:

<b>                         HAGEZY
</b>          Q.S. Navy Research 'acili.ty.

<b>                         (THEN)
</b>          Research on what?

<b>                         TONY
</b>          Nothing. it-'s a dummy out: i,t.
          That phone rings in Langley,
          but they'll know where I am.
          f f Agen nods and guts the card in his wallet a we

<b>                         TO:
</b>
                         

                         

                         

                         
          l4.
          M. tNTERF.OGATION ROOM ONE (CIA) -- DAV
          Tony is completing a test, fitting blocks together
          against time. The First•Interrogator is watching
          impassively, stopwatch in hand.
          Tony finishes, straightens. The Interrogator clicks
          the stopwatch impassively, giving no indication
          whether or not Tony has passed the test.

<b>                         CUT TO:
</b>
<b>          INT. INTERROGATION ROOM TWO (CIA) - DAY
</b>
          The Second Interrogator, a psychiatrist, is seated

<b>                         I
</b>          behind a desk rocking at a little steeple that he's
          made of his hands.

<b>                         2ND INTERROGATOR
</b>          And you were never curious?

<b>          ?NCTMM NGLE
</b>          including Tony who sits across the desk from the
          Interrogator.

<b>                         TONY
</b>          About what?

<b>                         2ND INTEMOGATOR
</b>          Why your father sent you away.
          You never wondered about it?
          You must have thought something.

<b>                         TONY
</b>          I thought he had his reasons.

<b>                         2ND INTERROGATOR
</b>          And you don't feel any resentment?

<b>                         TONY
</b>
<b>          110.
</b>
<b>          2ND 7.NNT .'RR0GATOR
</b>          What do you feel?

<b>                         TONY
</b>          Nothi..ng
          The Secor_d Iuterro,acor glandes •cver. The ~t ace of
          anger in Tor_v`s _as- response has told hiz. and us
          somethinc .
          C"^' TO: ui-

                         

                         

                         

                         

<b>          15.
</b>          0 T. L"tT-_.RROGATION ROOM TER= - DAY
          Tony sits in a chair in a small room with acoustical
          tile on the walls and ceiling. Behind hint is a desk-
          like structure with a built-in apparatus of dials,
          graph paper and odd, narrow metal pens.
          Tony is connected to the desk ensemble by three appara-
          tuses: a blood pressure cuff attached to his arm,. an
          accordian tube around the chest to measure changes in
          breathing rhythms; a hand-held device with electrodes
          which measures changes in perspiration or galvanic skin
          response.
          The Third Interrogator sits at the desk behind Tony,
          asking questions slowly and checking the three styluses
          on the rolling graphs.

<b>                         3RD INTERROGATOR
</b>          Have you ever visited a Ccnsmunist
          Country?

<b>                         TONY
</b>          No.

<b>          3RD INTER3CGATOR
</b>          Have you ever belonged to a Commu-
          9 aist Organization?

<b>                          TONY
</b>           No.

<b>          3RD IN`'ERROGATOR
</b>          Are you telling the ruth?

<b>                         TONY
</b>          Yes.

<b>                         3RD INTERROGATOR
</b>          Have you ever had a homosexual ex-
          perience?
          Tony turns and looks at the Third Interrogator.

<b>                         TONY
</b>          No. Save vou?
          The ;"hi=d Interrogator tenses angrily for a ncment,

<b>                         THEN:
</b>           31-I0 :N'_r'ERRCGATCR
           Its esser zia1 that you face the
          i f lar and answer the ClUest'_oi:s ?es
          at 1o.
          (CCNT'Z Nt D)

                         

                         

                         

                         

<b>          16.
</b>
<b>                         CCNTZ''' 'ITFED :
</b>          Tony turns back to the wall, then:

<b>          3RD I:YT RROGATOR
</b>          Do you have any friends in the
          Communist Party?

<b>                         TONY
</b>          No.

<b>                         CTT TO:
</b>          INT. I:YT...c2ROGATZON ROOM TS-M2 - DAY
          It is later. Tony is on his feet getting ready to
          leave. as the Third Interrogator is checking over the
          graphs with their red ink squiggles.

<b>                         3RD TERROGATOR
</b>          I get a high galvanic response on
          question twenty-three.

<b>                         (CHECKS SECOND
</b>
<b>                         GRAPH)
</b>          Z also have agitation indicated
          on your cardio tracing on the
          same question: 'Do you have any
          close friends in. the Communist
          Party?' Your answer was negative.
          Would you like to amend that?
          Tony has rolled down his sleeve and out on his coat.
          He pauses at the door, then:

<b>                         TONY
</b>          It's my roommate up at Eseter.
          Phil Bodeen.

<b>          3RD INT.'RRCGATCR
</b>
          He's a Ma.- xist?

<b>                         TONY
</b>          Z don't know.

<b>                         (GRINS)
</b>          But last time r saw him he had an
          American flag sewn to --..e seat
          of his pants.

<b>          3RD INT=.RCGATOR
</b>          And how did 'cu feel about tat?

<b>                         TONY
</b>          ( sh..?ug s
           L gis y y r r 1 1 +I GrL MCI n
          E (CON ` tZD)

                         

                         

                         

                         

<b>          17.
</b>
<b>                         WONT : F
</b>           3RD &gt;arr.` 3ROGATOR
           That's interesting.

<b>                          TONV
</b>          what?

<b>                         3RD INTERROGATOR
</b>          You think it's perfectly all right
          to sew the Nation's flag to the
          seat of your pants?

<b>                         TONY
</b>          As a matter of fact Z don't.

<b>                         (THEN)
</b>          But the Supreme Court does. Syza-
          bclic freedom of speach. Protec
          ted under the First Amendment.
          As Tony tuffs to go :

<b>                         3RD INTERROGATOR
</b>          Adam me?

<b>                         TONY
</b>
<b>                         (TURNS BACK)
</b>          Sir?

<b>                         0
</b>
<b>                         3RD INTERROGATOR
</b>          I take it you're prepared to die for
          that right?

<b>                         TOUR
</b>          No, Sir. Dying doesn't fit in with
          my plans at all.

<b>          3RD M47TRROGATOR
</b>          Just what are your plans, Mister Adams?

<b>                         TONY
</b>          T plan on passing this thing

<b>                         CUT TO:
</b>
<b>          TNT. HANDBALL COURT - DAY
</b>          Tony and Stu Palszateer are in sweat clothes, playing
          a hard, ma-mercy game Of handball. ?almateer is close
          as he hits the ball:

<b>          PAT.MATE R
</b>
<b>                         YOU WILL
</b>
                         

                         

                         

                         
          COHTZ.wE :
          We whip pan to Tony, returning the shot.

<b>                         TONY
</b>          What makes you think so?

<b>          PALMAT Z.P..
</b>          You've got friends in high places,
          chino(.
          As Tony puts one away:
          PAI.6VxT..,ER
          Shot..

<b>                         P (THEN)
</b>          Believe me, you'll be reading-in
          on the project by next week.

<b>                         CUT TO:
</b>          =T. IBO CATION BUILDING (St.PSEY CITY) - DAY
          We are on the front entrance of the building owned by
          the International Brotherhood of Dockworkers. This is
          the National Headquarters Building, so indentified by
          a plaque of some kind. Tom Hagen enters this buildinq
          0 followed ?;y Al, Neri.

<b>          MM. BRA.DY' S OUTER OFT= - DAY
</b>          The President of the Union, Patrick Brady, a large,
          red-faced, hearty man, comes bursting out of a door
          and crosses up to Hagen and Neri.

<b>                         HAGEN
</b>          Tom! Alberto ! Come in. Come in
          This way.
          I (to Secretary)
           No calls, :Maggie.

<b>                         1
</b>
<b>          =41Z. CCNFEP,.N=_ BOOM - DAY
</b>          This is a very plush room with heavy carpets, a long
          polished table and a large portrait of the Union's ex-
          president, Danny Devito. Under this portrait is a bar
          at which Brady stands pouring drinks into crystal.
          glasses. -
          As he t r=ls the drin s, y Yea the w..T..rzh Ner+

<b>                          K
</b>           then as he gi"Ies the secon d one to Iacer: °-
           (CDNT t D)

                         

                         

                         

                         

<b>          18.
</b>
<b>                         CONTINVZD
</b>
<b>                         BRADY
</b>          You're looking good, Tom. How do
          you keep your belly so flat?

<b>                         EAGEN
</b>          Mainly trying to rum you down.

<b>                         $RADY
</b>          Do You think this outfit =ins
          itself?

<b>                         RAG=
</b>          I think you're stalling us, Pat.

<b>                         BRADY
</b>          StaLLJag?

<b>                         (TO UTERI)
</b>          Will you listen to this guy?

<b>                         (GRINS AT
</b>
<b>                         HAGEN)
</b>          You want to know when I got back
          from New Orleans? Ten-thi.-ty last
          night. Big problems.

<b>                         3AGE1
</b>          I understand and S sympathize, but
          you've had our proposal for a month ---

<b>                         ANOTHER ANCE
</b>          Brady crosses to the head of the board table where
          he opens a :older and starts riffling through some
          papers. As he does so, Eagen opens his briefcase.

<b>                         BAGEN
</b>          '1f you've misplaced it, I have a
          copy of the package plus. a summary
          of Genco International's assets and
          projected profits based on audited
          financial statements with additional
          data supplied by our Comptroller.
          I also have the plans and estimates.

<b>                         BRADY
</b>          okay. okay. I found 4-

<b>                         (THEN)
</b>          You want a i'i,ty M :?lion do? la=
          line of credit to be. granted is
          full to Genco azternatiorai and
          Subsidiaries and so on and so -73rth --

<b>                         (-OAKS AN)
</b>          For a. hotel in tlar tic City? 7-'s
          a lot of money, '^o t.
          (C.` CN'i _.dL: E^u )

                         

                         

                         

                         

<b>          19.
</b>
<b>                         CONT'VCZD :
</b>
<b>                         BAG T
</b>          Not if they vote in local option
          gambling. And they will.

<b>                         BRADY
</b>          That's beside the point. ?act
          is, those days are over when Danny
          used to hand it out like so much
          free lunch. There's been a big
          reduction in our c fitment to new
          construction loans.

<b>                         RAGR`
</b>          How Long has that policy been in
          effect?

<b>                         BRADY
</b>          Let me read you something.

<b>          ANGTIMR ANG '.E
</b>          as Brady withdraws a newspaper cut-out, obviously an
          editorial, from the folder.

<b>                         3RADY
</b>          S It's headed2 Take the hcod out
          of the Brotherhood.

<b>                         (LOOKS UP)
</b>          Cute?

<b>                         (READS)
</b>          'It. is precisely men like Patrick
          Brady -- who took over the Pres-
          idency of the I3D when the former
          President, Danny Devito was packed
          off to prison, who must be watched
          by the SEC. Because of the tremen-
          dous economic power of the anion
          Pension Funds, these men -- with
          their syndicate connections --- are
          putting the Underworld in a position
          to dominate the American economy

<b>                         (THEN)
</b>          What more can I tell vou?

<b>                         A
</b>          You can tell me if the answer is
          yes or no.
          As Brady crosses to the 4a!-! where ?.e ? arge srt dio
          Por-trai.t of Danny Devito, a tcugh-lcok zc __ctle Tay,

<b>                         E
</b>          (CONTI ITv:.D )

                         

                         

                         

                         

<b>                         I
</b>
<b>          20.
</b>          CCNTI tUEI? :
          is framed in a place of honor. After a moment Brady
          shakes his head and turns back to Hagen.

<b>                         BRADY
</b>          t'm sorry, Tom. :Such as I love and
          respect cur former president, I
          don't have any burning urge to end
          up rooming with him at Leavenworth.

<b>                         EAGW
</b>          Before you give me your final re-
          fusal., I'd like to say one thing ---

<b>                         BRADY
</b>          You've just had my final refusal,
          Hagen. The answer is no.
          i ANOTHER ANGLZ
          as Hagen looks at Brady for a moment, then starts
          putting papers back into his briefcase. As he does so:

<b>                         BRADY
</b>          No hard feelings. It's just a
          policy decision of the Board.

<b>                         BAGEN
</b>          I understand and I thank you for
          your time ---

<b>                         NERI
</b>
<b>                         (TO BRADY)
</b>          I'll see you around, Pat.

<b>                         BRADY
</b>          What's that supposed to mean?

<b>                         M
</b>          It means I'll see you around.

<b>                         BRADY
</b>          What am t supposed to do? Get
          scared? Piss in my pants?
          ,,To one is trfing to intimidate you.
          The Corleone :° ti.ly doesn't do
          business that wacr,

<b>                         3RADY
</b>          T h e Cori eons 4ami? y doesn't do
          (C ON"r y zt, D )

                         

                         

                         

                         

<b>          21.
</b>
<b>          CONTZ4"D :.
</b>
<b>                         BRADY (CONT'D)
</b>          a hell of a lot of business, period.
          The way Z hear it, you're finished.
          With Mike locked away in a rubber
          room someplace, and a two million
          dollar tax lein on your Vegas prop-
          erty, you. got the balls to come in
          here and try to run muscle on me.
          Get out of here. Both of you.

<b>                         SAGE N
</b>          We were just going.
          Hagen has packed his papers into his briefcase. Now
          he nods at Neri and as both turn, and start toward the

<b>                         DOOR:
</b>
<b>                         BRADY
</b>          Wait a minute.
          Hagen turns back. Brady comes up with the Genco Inte.r-
          national loan application.

<b>                         BRADY
</b>          Take this along with you in case
          you run out of toilet paper on
          0 the flight back to Vegas.
          3agen takes the application from Brady, then cuietly:
          E ,Gr 3
          Don't ever think that the Corleone
          Tamily is finished, Mister Brady.
          That would be a mistake.
          Hagen and Neri now turn and exit. Brady is looking
          after them. Gradually the bravado drains from his
          big, pink, Irish face and he crosses to the telephone
          and picks it up.

<b>                         BRADY
</b>          Gat me Sam Maatrocina.

<b>                          CITT 1 '60
</b>          ELT . MAATRCCIii .' S YACET (LONG ZS LADIM MARIMTl) - DAY
          We are close on the hatchway to the main Salon as
          Sam iaatroci_na, the slick, sharp, middle-aged Don
          of a. powerf :.L New York faoi i y, comes up into shot
          and pauses, smiling cff:
          CONT==,cm

<b>                         I
</b>
                         

                         

                         

                         

<b>                         4
</b>
<b>          22.
</b>
<b>                         CONTSNVED :
</b>
<b>                         MAATROCINA
</b>          There's a trick to it, Pat.

<b>          ANOT$ER ANGLE
</b>          including the canopied afterdeck of %laatrocina's
          lovely yacht, moored among others of its type in
          a splendid :forth Shore Long Island marina.
          Pat Brady, looking out of place in his suit and
          city shoes,atands trying to light a cigar with a
          table lighter.

<b>                         I BRADY
</b>          Hello Sam. I'm sorry to have
          bothered you.
          We pull back slightly as Maatrocina --- in neat yacht-
          ing whites and deck shoes - comes up followed by a
          cold-looking man, Ralph Augusto, Maatrocina's hood.

<b>                         TROC
</b>          No bother at all.

<b>                         (TO AUGUSTO)
</b>          Light the man's cigar for him,
          Ralph..
          As Augusta comes up, takes the lighter from Brady and
          sets about the business of lighting the big, Union

<b>                         LEADER'S CIGAR:
</b>
<b>                         MAATRCCINA
</b>          So what's our friend Tcm Hagen sp
          to these days?

<b>                         BRADY
</b>          Still shopping around for that loan.

<b>                         MAATROCINA
</b>          Lots of luck to him.

<b>                         BRADY
</b>          Thank you, Ralph.
          Augusta, having lit Brady's cigar, nods expression-
          lessly and sits as:

<b>                         3RADY
</b>          T h ey ;ri ed to =1=_-W a scare at me.
          w^1TI\Z'v.Z0 ;

                         

                         

                         

                         

<b>                         I
</b>
<b>          23.
</b>
<b>                         CONT=NRED :
</b>
<b>                         MAATROCIIA
</b>          Don't worry about it.

<b>                         BRADY
</b>          Something about Hagen kind of
          bothered me.
          Maatrocina offers a platter of grapes to Brady.

<b>                         MAATRCC=TA
</b>          You like a grape?

<b>                         BRADY
</b>          No thank you.

<b>                         I
</b>
<b>                         M ATROCINA
</b>          I'll te12 you haw tough Hagen is --

<b>                         {EATS A
</b>
<b>                         GRAPE)
</b>          Ralph Auqusto will make in squat
          down in the middle of Times Square
          in the rush hour and take a shit.

<b>                         BRADY
</b>          Yeah? What about Al Neri?

<b>                         0
</b>
<b>                         MAATROCINA
</b>          I tell you don't worry -- don't
          worry. You stick with the -Maatro-
          ciza famly you're safe as church.

<b>                         (THEN)
</b>          That I promise you on my mother's
          grave.
          As Maatrocina leans across with the grapes again:

<b>                         MAATROCINA
</b>          Do me a favor.. One grape. I grow
          'em at my own place. They're de-
          licious.
          As Brady takes a grape, Maatrocina looks over at Ralph

<b>                         AUGUSTO:
</b>          ANOTHER ANGI. - FEATURING AUGu STO
          As he nods almost iimperceptibly, gets un and goes,

<b>                         I TO:
</b>
<b>                         E
</b>
                         

                         

                         

                         

<b>          24.
</b>
<b>          0 NETWORK NEWSROOM (WASBINGTON) - DAY
</b>          We pick up Elizabeth Ann Dunne, about 30. She is a
          television personality, mainly an interviewer of
          celebrities, although sometime a Newsweman and talk-
          show performer. She is poised, attractive, warm,
          hirp. She is coming out of an office. She crosses
          through the newsroom with its teletypes and general
          sense of activity. A Cameraman comes up to her:

<b>                         CAMERAMAN
</b>          You ready, Liz?

<b>                         ELIZA$ETE
</b>          f i fteen minutes. Out in front.
          We follow her out of the newsroom, dawn a hallway and
          around a corner and in through a. door rrar!ced, "Projec-
          tion Room One".

<b>          =T. PROJECTION ROOM ONE
</b>          Elizabeth comes into the projection room, pausing in
          the doorway as her eyes adjust to the change in light.

<b>          A? M OT R ANGLE
</b>          We see that Tony, in miform, is the only otter person
          in the projection 'roem. Tony takes out a cigarette
          lighter.

<b>                         TONY
</b>          Here.
          As Tony flicks the lighter on:

<b>                         ELTZAAET
</b>          Thank you.

<b>                         TONY
</b>          My name's Adams. Tony Adams.

<b>                         (THEN)
</b>          Z know who you are Miss Dunne.
          As Elizabeth finds a seat, we see that what is being
          run i.n this Projection room is an interview ime-troreen
          Elizabeth and a large, attractive, Latin-American
          political leader named Arnando. ?Tidal. They sit to-
          get er at the --col area of a lur..ar r hotel. Tidal wears
          a fatigue uni.fc= without any insignia whatsoever- The
          image of Elizabeth an screen is saving-

<b>                         (CONTINUED)
</b>
<b>                         C
</b>
                         

                         

                         

                         

<b>          25.
</b>
<b>                         0 CONTNUED:
</b>
<b>                         ELIZABETH'S VCIC
</b>          Senor Presidente, there are still
          those who say that in spite of the
          advances you've made, your Country
          still falls short of the Democratic

<b>                         IDEAL ---
</b>
<b>                         VIDAL
</b>          Obviously. However, the convulsions
          that my Countz went through four
          years ago last February were not so
          much a revolution as they were a --

<b>                         (PAUSES)
</b>          I am thinking of the labors of
          I Herculi.o --- in the stable

<b>                          ELIZABETH'S VOZC
</b>           A cleansing.

<b>                         S VIDAL
</b>          Exactly. Muchas gracias. My Country
          was befouled by the corruption of
          its leaders and their exploitation
          at the people. A hard cleansing was
          needed and sometimes that is painful --
          but the pain is over and now Z am
          0 hoping. that qty little Cc=try and
          your great Yaticn can once again be

<b>                         FRIENDS ----
</b>
<b>                         ELIZABETH'S VOICE
</b>          I'm sure a lot of pecple say Amen
          to that, Senor Presidente.
          On the screen the scene has shifted to an attractive
          beach area where Vidal, in a wet suit, is adjusting
          his'-scuba gear preparitory to diving. Admiring child--
          red and Elizabeth Ann. Duane watch. Over this:

<b>                         J
</b>
<b>                         ELIZABETH'S VOICE
</b>          For a glimpse of another facet of
          Armando Vidal's nat•.ire, we spent the
          last day at the beach at Finca del
          Sol Where El Presidente exhibited
          his skills as a scuba diver -- one
          of his favorite hobbies.
          On the screen Vidal --ousels a kid' s ha..- and crosses
          into the water. As he wades out, Tony turns to
          Elizabeth.

<b>          (C CNT=IL EC ;
</b>
                         

                         

                         

                         

<b>                         T
</b>
<b>          25.
</b>
<b>                         CONTZLVTIED :
</b>
<b>                         TONY
</b>          When will this be shown?

<b>                         ELIZABETH
</b>          Sometime in the Fall.
          While Elizabeth, in the projection room, is saying
          this. her image on the screen has turned to the T4
          camera and is saying:

<b>                         ELIZABETB'S VOICE
</b>          This is Elizabeth Ann Dunne coming
          to you from Finca del Sol where --
          in an exclusive interview -- El
          Presidents, Armando Vidal, has just
          extended the hand of friendship
          from quote, 'his little Country to
          our great Nation . '

<b>                         I
</b>
<b>                         ANOTESR ANGLE
</b>          The reel is over. The screen goes blank and the
          lights in the projection room go on.

<b>          ELIZA.BET?I
</b>          40 What is it that you're working on? 16
          Some sort of'a psychological pro-
          file on Vidal for the Navy Depart-
          ment?

<b>                         TONY
</b>          Right. There's a couple of ques-
          tions I wanted to ask you, if that's
          okay.

<b>                         (THEN)
</b>          What are you doing about lunch?

<b>                         ELIZABETH
</b>          I ignoring it. I've got to pick up
          some shots around town, but you're
          welcome to come along.
          They are at the projection: room door. As Tony cpens
          it for her she causes, then:

<b>                         ELIZABET3
</b>          You ever play any baseball, :lister
          Adams?

<b>                         TONY
</b>          Sow did you guess h.at?

                         

                         

                         

                         

<b>                         I
</b>
<b>                         I
</b>
<b>          26-A.
</b>
<b>                         CCNTTX= :
</b>
<b>                         ELIZABETH
</b>          I saw you pitch a no-hitter against
          Army two years ago.

<b>                         TONY
</b>          You're kidding.

<b>          TI' ZA3ETH
</b>          L don't kid about no hitters..
          Elizabeth exits. Tony follows. We ---

<b>          CII:' TO:
</b>
<b>          EX' T. MC= VE NQN - DAY
</b>          as a troup of Boy Scouts goes past us and clears the
          Visitor's Gate, exposing the bowling green, the court-
          yard and far down, framed by giant black oak and maple
          trees, we see the `Mansion with its pure lines and

<b>                         SIMPLE ELEGANCE-
</b>          Tony and Elizabeth appear., followed by the Cameraman
          and one or t'c more. As Tony and Elizabeth cross into
          the beautifully kept grounds of the old Plantation ----

<b>                         TONY
</b>          None of my business, but what were
          you. doing at an Army-Navy ball. game?

<b>                         ELIZABETH
</b>          We were putting together a special
          on Arne Grundellius. He'd just been
          appointed Secretary of State. Ee
          threw the first ball that day.

<b>                         TONY
</b>          You've got a pretty good memory.

<b>                         ELIZABETH
</b>          And you.'ve got a pretty good slider.
          But L've got to be honest, you threw
          a lot of junk in the last two innings .
          As Tony shoots her a look:.

<b>                         ELIZABETH
</b>          My old man was on the Spar rs' Desk
          of the Boston Globe for wwent;r-five

<b>                         (CONTMM-S-0
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>                         CONTINUES:
</b>          ELIZABETH (Cent' d)
          years. Z was practically raised at
          Fenwick Park in the Carl Yastremski

<b>                         DAYS-
</b>          As Elizabeth crosses and starts working out a shot
          with the Cameraman, Tony is eying her speculatively.

<b>                         CUT TO:
</b>
<b>          EXT. TEE CRYPT OF GEORGE WASHINGTON - DAY
</b>
          We are at. the littleopen-fronted white marble burial
          vault of George Washington. . We pull back to include
          Tony as he looks at the sarcophagus.

<b>          ELIZABET3'S VOICE
</b>          Tony? We're finished ----
          As Tony turns, we pull back and pan to include Eliza-
          beth, who stands in the little leafy path leading
          from the vault. As Tony crosses and ;tins her, we

<b>                         CUT TO:
</b>          0 T. SPACE AND FL GF ' M SEt M - DAY
          We are on the balcony as Elizabeth sets up a shot
          frog: the Wright Brother's "Flyer" panning to
          "The. Spirit of St. Louis", and then to one of the
          Space Capsules. Tony is watching Elizabeth. She
          looks over, catches his eye, smiles.

<b>                         CUT TO :
</b>
<b>          EXT. GEORGETOWN - NIGET
</b>
          as Tony and Elizabeth approach her apartment on a
          quiet, Georgetown side street. The cold, faintly
          blue light of the- street lamp at the corner throws
          leaf shadows on their faces as they come up to the
          front door..

<b>          CLOSER ---AT TEE DOOR
</b>          She opens the door, steps to one side and gestures
          him in.

<b>                         MZZA3ETE
</b>          One dr iak, ckayr?

                         

                         

                         

                         

<b>          26-C.
</b>
<b>          INT. ELIZABETH'S APARTMENT - NIGHT
</b>
          We are close on a picture of Elizabeth and Arne
          Grundellius, the Secretary of state, whom we might
          remember by sight as the Speaker at Tony's gradu-
          ation. The picture is in.€orral, taken at an open-
          ing night at Kennedy Center.
          We pull back to include Tony, locking at the picture
          as Elizabeth comes up with a couple of drinks.

<b>                         TONY
</b>          You and Grundeilias?

<b>          EZ,I ZA.3E'_'E
</b>          At Kennedy Center.

<b>                         TONY
</b>          Ee really gets around.

<b>                         ELIZABETH
</b>          Well, he got around nee anyway.

<b>                         TONY
</b>          Oaps.

<b>                         ELIZABE'-"3
</b>          No ha=, no foul.

<b>                         (THEN)
</b>          r wasn't fighting him off very
          hard.

<b>                         ANOTHER ANGLE
</b>          As Elizabeth picks up another picture, this one a
          framed studio portrait, inscribed, of the Secretary.
          As she locks at it:

<b>                         ELIZA3ETE
</b>          We had quite a little thing going
          .for a while. I think he ac tuually
          gave up two starlettes and a bare-
          back rider -- temporarily.

<b>                         TONY
</b>          You stir see h,m?

<b>          EI,IZ.ABETE
</b>          Once in a while.

<b>                         (THEN LAUGHSY
</b>          Said she ?ri.s4f?i? r.

                         

                         

                         

                         

<b>                         I
</b>
<b>          26-D.
</b>
<b>                         CONTIDI = :
</b>
<b>                         TONY
</b>          Z was just going.

<b>                         ELIZABETH
</b>          Don't mind me. I'm just your basic
          Boston Irish. We bruise easily and
          heal slowly.

<b>                         CD TO:
</b>
<b>          EXT. ELIZABETH'S FRONT DOOR - NIGHT
</b>
          as Tony cones out. Elizabeth stands in the doorway.

<b>                         ELIZABETH
</b>          Call. me.

<b>                         TONY
</b>
<b>                         (NODS)
</b>          Goodnight.
          Tony goes down the street. She watches after him
          as we -«

<b>                         CUT TO:
</b>          rXT THE BATTERY (NEW YORK CITY) - NIGHT
          A limousine comes down past the Battery Park and moves
          toward the Staten Island Ferry Building. It is about
          ten o'clock at night.

<b>          I INT. THE L=!OUSINE - NIGHT
</b>
          Frankie Rizzi, about 30, is driving. Frankie is the
          son of Connie Corleone and Carlo Rizzi. In the back-
          seat is Al Neri. Frankie looks off toward the river.
          We can see. the ferry coming in.

<b>                         1
</b>
<b>                         FRANKII
</b>          Here it comes now.

<b>                         ANOTHER ANGLE
</b>          as the fear comes up. Noses into the slip. Creak
          of pilings. The limousine drives onto the ferry.

                         

                         

                         

                         

<b>                         I
</b>
<b>          27.
</b>          IYT. : HE LS.' CUStNE - NIGHT
          Frankie is listening to the baseball scores. Neri is
          nervously checking his watch. A few passengers are
          boarding. There are no other cars.

<b>          ANOTHER ANC LE
</b>          Salf a dozen loose, Puerto Rican kids come bopping
          up the automobile deck. one is listening to a radio
          that he holds to his ear. He crosses up to Frankie.

<b>          PUERTO RICAN RID
</b>          Hey Mister, you got a cigarette?

<b>                         PRANRIE
</b>          I don'-.t ;smcke.

<b>          PUERTO RICAN RID
</b>          You got a dollar?

<b>                         FRANRZIR
</b>          Beat it.

<b>          ANOTHER ANGT.E
</b>
<b>                         I
</b>          as Neri, who hasn't been paying attention to the kids,
          now looks up in annoyance.

<b>                         NERI
</b>          Give him a _--
          Suddenly veri breaks cg!, sensing something wrong.
          The other Puerto Ricans are surrounding the limousine.
          As Neri dives for the door of the car ---

<b>                         ;N1ERI
</b>
<b>                         LOOK OUT:
</b>
<b>                         ANOTHER ANGLE
</b>          Guns have appeared in the hands of the Puerto Ricans
          and they start to blast at the limousine from outside.
          The ferry whistle is blowing.

<b>                         MWTT ANGLZ
</b>          Neri :its the deck, a !4 na , cones t _t°? -- --u n :t a-
          blast:.:.CT.

                         

                         

                         

                         

<b>          28.
</b>
<b>                         ANOTHER ANGLE
</b>          One of the Puerto Rican kids is hit squarely in the
          chest. He flies back, azms up, legs sz readea_gI d,
          like he was hit in the chest with a baseball bat.

<b>                         ON FRANRSE
</b>          Prankie is out of the car, reaching for his gun. Before
          he can get it clear, he is hit in the shoulder and spun
          to the splintery, oily deck.

<b>                         ANOTHER ANGZE
</b>          As a Puerto Rican goes to finish off Frankie, Al Neri
          blows him away.

<b>          REVERSE Z.
</b>          as two other Puerto Ricans blast Neri simultaneously.
          Neri's eyes go wide. He coughs.: A big, stringy sob
          of blood appears in his mouth, vomits out onto his
          shirtfront.

<b>                         ON NERI
</b>          He goes down to his knees, tries to raise his grin
          for one last shot. A Puerto Rican grins and putting
          his gun. an inch from Neri's face, pulls thetrigger.

<b>                         ANCTEER ANGLE
</b>          People are screaming, running. The'ferry is starting
          to pull from the dock. The four remaining Puerto
          Ricans run for the end of the boat, make the Leap
          over the churning water from the ferry to the landing.

<b>          FULL SHOT - FMM LANCING
</b>           The ferry boat is still
           pulling away as the `our
           Puerto Ricans land on t h - e he pier and disappear into the
           night. The ferry boat's whistle is blowing shrilly.
           Off its starboard bow we can see the Statue c- Leber _r.
           Over this we hear ---

<b>           -P?3T__' -.ST' S `JOIC
</b>           I am the ?aa^tt,-cc±±^; +n and the r. - ' 1
           and he teat believeth in Me, al -
           though he be dead, shall live ---

<b>                         E
</b>          DI SSO?.. iE TO :

                         

                         

                         

                         

<b>          29.
</b>          EXT. ITALIAN-CAT3CLiC GRAVEY-XI II (LONG ISLA `7D) -- DAY - -
          We are on the ornate tombstone of Don Vito Carlecne-,
          the Godfather. We are pulling back from it as

<b>                         PR2EST
</b>
<b>                         (CONTINUING)
</b>          And' everyone that liveth and be-
          lieveth in pie shall not die forever.
          We have pulled back to include the buria.L services
          for Neri. At the graveside are Tony, in dress blues,
          Hagen, Rocco Lampone and others.

<b>                         ANOTHER ANGLE
</b>          The services finish and the group breaks into smaller
          informal, groupings. We move to Tom Hagen and Tony, who
          have drifted to one side.
          aNOTH.ER ANGLE
          as Hagen indicates a moon-faced man, Imberto Croce,
          about sixty, who is approaching them.

<b>                         HAGEN
</b>          Umberto Croce out of Tama. He
          took over the whole Florida thing
          after Hyman Roth and Johnny Ola
          were retired.
          Cmberto has come up.

<b>                         HAGZ"N
</b>          Cmberto. Michael's son. Anthony.

<b>                         CROCZ
</b>          Youi father must be proud.

<b>                         (THEN)
</b>          What do you think, Tom? They're
          saying it was Maatrocina.
          3agen makes a little gesture, reminiscent of the God-
          father; a kind of upward opening of the hand, as if
          gently letting a tiny bird free.

<b>          ANOTEE . ANGLE
</b>           As Frank ,e R .zzi. his a in a sliaq, and Sant .._^.c
          Cor' eone ?cnay ` s oldest son, rcW is awd . e W -i-r-
          ties, =Cme UM together:
          (CUNT:Nt7ZD )

                         

                         

                         

                         

<b>                         - 41
</b>
<b>          30.
</b>
<b>                         CONTNM :
</b>
<b>                          BAGZN
</b>           Say hello to your cousin,

<b>                          IR RANKIE
</b>           Rizzi - your Aunt Connie s by--
           and this- is Santino, your uncle
          Sonny's oldest.
          As Tony shakes hands with Santino and ?rinkie:

<b>                         PRANKIE
</b>
<b>                         (TO TONV)
</b>          Excuse my left hand.

<b>                         SANTINO
</b>          Frankie was in that little shit
          storm on the ferry boat.

<b>                         CROCE
</b>          The whole thing don't make sense
          to me.

<b>                         FRANXIE
</b>          All Z know is Al got a phone call
          from that, nephew of his, Tommy,
          who runs numbers in Staten Island.

<b>                         SANTINO
</b>          Fucking punk.

<b>                         FRAHRIE
</b>          It was something about Al's sister
          being sick bad with the ptomaine or
          I something. We walked right into it.

<b>                         CROCZ
</b>          What about Tommy?

<b>                         FRANXIZ
</b>          The nephew? Nobody seen him since.

<b>                         SANTINO
</b>          Ask me he's out in the Narrows with
          about eight slot machines tied
          around his neck.

<b>                         ANOTHER ANGLE
</b>          As Rocco Lamm pone comes up, clearly agitated:

<b>                         LAAONE
</b>          How do you Like the ally oaf that
          bastard? Snowing up here.

<b>                         I
</b>
<b>                         (CONTIEE
</b>
                         

                         

                         

                         

<b>          31.
</b>
<b>                         CONTIIUED :
</b>
<b>                         SANTI-1141O
</b>          Maatr-ocina?

<b>                         LAMP ONE
</b>          If your old man was alive, that
          son of a bitch would be eating
          his dinner in hell tonight.

<b>                         RAGE
</b>          Be patient, Rocco, and trust me.

<b>                         (SMILES OFF)
</b>          Sam.

<b>                         ANOTSER ANGLZ
</b>          as Sam Maat:ocina comes up, his expression suitably
          somber.

<b>                         MAATROCLMA
</b>          Tom. E'ellas. Go figure life, huh?.
          A guy like Al Neri. Who'd of fig-
          c a red him to get mousetrapped like
          that?
          Maatrocima is shaking hands with Hagen,. Rocco and
          0 Frankie. As he does so:

<b>                         EAGFN
</b>
<b>                         (INDICATES)
</b>          Mike's son, Anthony. Sam Maatrocina.
          Maatrocina holds out his hand to Tony. Tony just looks
          at him coldly for an insulting split second. Maatro-
          cina's expression doesn't change, and the outstretched
          hand moves to squeeze Tony's bicep. Now he shows his
          teeth in a grin

<b>                         MAATROCINA
</b>          The arm on the guy.

<b>                         (THEN)
</b>          If you ever need a job come see me.
          w!aatrocina ti ns and moves off. Tony Is looking after
          him.

<b>                         HAGEN
</b>          Mistake, ';.'onv. ?never let a man
          like that 'mow what you' :e thiak-
          .ng .

<b>                         =;T TO
</b>
<b>                         11
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          32.
</b>          TNT. LIVING ROOM (CON coRLEONE's HOUSE) - MIGHT
          The members of the Corleone Family and some of their
          friends are gathered at the Godfather's old house in.
          the Mall. The tenor of the group is subdued, although
          the tensions of the day are beginning to ease.
          We pick up Fraakie who is guiding Tony through the
          room.

<b>                         PA N =
</b>          Santino always liked the old place.
          He picked it up after Pentangeli
          knocked himself off.

<b>          ANOTHER ANGLE.
</b>          as they pass Umberto Croce who is coming out of the
          diming room where a buffet has been set up. Croce
          has a heaping plate of, food. He pauses, shaking his
          head.

<b>                         C:TOCE
</b>          Sad day, sad day.
          As Croce moves on, shaking his head, _rankie locks
          after him.

<b>                         IS
</b>
<b>                         FRAVRIE
</b>          Dania near ruined his appetite.

<b>                         (THEN)
</b>          Good man though. From the old days
          before the Spics and all.

<b>                         TONY
</b>          How strong is the Corleone family
          connected in Latin America?

<b>                         FRANKTE
</b>          We got some people doom there used
          to work for us in the hotel. Now
          they do odd jobs. Help with the
          airline. Like that.

<b>                         TONY
</b>          Tell me about the airline.
          It's what you call non-scheduled.
          You 'now?

<b>                         (THEN)
</b>          Lf we ever go out of business, haL
           the rock groups i -he ccunt-= r J

<b>                         40 (CCNT " + D )
</b>
                         

                         

                         

                         

<b>                         S
</b>
<b>          33.
</b>
<b>                         CCNTINLTED :
</b>          ? R A N = (Cont'd)
          be standing around with empty spoons
          stuck up their noses.
          As Sonny's daughter, Francesca, comes by talking with
          her twin sister, Barbara, who is now a nun. They are
          now about forty.

<b>                         FRANZIE
</b>          Hey, Francesca. Barbara.

<b>                         (TO TONY)
</b>          You remember the twins.
          As the women greet Tony, old Mister Nazorine, the baker,
          comes by.

<b>                         FRANBIE
</b>          And here' s Mister Nazori.ne -- still
          makes the best tarelles in town.
          As Tony is greeting the old man:

<b>                         FRANCESCA
</b>          Tony, Tony. I remember the day
          you. were born. A blizzard. And
          grandpa and Tessin and Clemenza
          were sitting out in the backyard
          in the snow with a five gallon jug
          of grappa, celebrating.

<b>                         BARBARA
</b>
<b>                         (LAUGHS)
</b>          And grandma was out there yelling,
          disgrazia.. Infamita! You could
          hear her clear to Freeport.

<b>                         F RANXIZ
</b>          (tugs Tony off)
          Later, huh?

<b>          M. DON CORLEONE'S OFFICE - NIGHT
</b>          Gathered in Don Corleone's old cotter office are Santino,
          Tom Hagen, Rocco Lampone and Umberto Croce. Tony and
          Frankie enter.

<b>                         BEN
</b>          CZ.ose the door, please, ?rankie
          and make yourself comfor able.

<b>                         ( THEN)
</b>          First, Tony, t!lank you for want c.
          We all aroreciate is.

<b>          (C ONT11-N ED )
</b>
                         

                         

                         

                         

<b>                         A
</b>
<b>                         L
</b>
<b>          34.
</b>
<b>                         CONTINUED :
</b>          Tony nods. All are seating themselves as:

<b>                         HAGEN
</b>
<b>                         (TO TONY)
</b>          Would you care for a little wine?
          A little Anisette? No? All right.

<b>                         (THEN)
</b>          I've invited L berto Croce to sit
          in with us-because of his strong
          connections in Latin America and
          in the exile comarunity down in
          Florida -- and because he's a
          trusted and valued friend of the
          Corl eone family.

<b>                         (THEN)
</b>          And now,, if your friends in Langley
          have decided that you're not a
          Russian spy, perhaps you can tell
          as the nature of the service they'd
          like us to perform.

<b>                         TONY
</b>          It's a political assassination.
          The target is Asmanda Vidal.

<b>                         0
</b>
<b>          A,NQ1'8ER ANGLE
</b>          Santino, whose attitude has been somewhat sardonic
          throughout, now breaks out in a bray of laughter.
          Tony turns on his cousin, then coldly and quietly:

<b>                         TONY
</b>          If it's too much for you, just say
          so. M can break this off right now ---
          Santino, taken aback at the cold authority in Tony's
          manner, turns for support.

<b>                         SANTINO
</b>          What did I say, for God sake.

<b>                         (TO TONY)
</b>          Whaddya so touchy?

<b>          E AG I
</b>          When is this planned for?

<b>          TONY.
</b>          Next February. ?!e' s having a week-
          long celebration o the Fif_'h. nn?.zr-
           ersar,7 of the Revolution.

<b>                          (THEN)
</b>           We're planning i t to ? cok like an

<b>                         40
</b>          accident -- or natural causes.

<b>                         (CJN'RINUZD )
</b>
                         

                         

                         

                         

<b>          35.
</b>          CCNTI i ED
          SA.NTTzYO
          That's a hell of a trick if you
          can do it.

<b>                         TONY
</b>          Our Technical Services Division is
          experimenting in two areas. One is
          a scuba: diving wet suit designed to
          malfunction at a critical depth.
          The other is a toxic biological
          material -»- a strain of botulism
          that's tasteless, colorless and
          odorless -- and so lethal that
          one drop on his food or an his
          toothbrush would be fatal inside
          of an hour.

<b>                         CROCE
</b>          That would mean getting somebody
          close to him.

<b>                         RAG'N
</b>          Could that be done?

<b>                         CROCE
</b>          t think so.

<b>                         EAGEN
</b>
<b>                         (TO TONY)
</b>          And what's your part in all this?

<b>          TOW,
</b>          t'm the cut-out. The circuit
          breaker.

<b>                         BAGZN
</b>          The only link between our people
          and the Government'

<b>                         TONY
</b>          That's right.

<b>                         (THEN)
</b>          There's a second phase to this
          operation. It consists a spread-
          ing confusion -- planting explos-
          ives -- the Police Barracks -- the
          Central. Power Station -- so on.
          which will hopefully trigger an
          uprising of the Anti -Vi"'aiista
          forces.

<b>                         ONTI TCZ-
</b>
                         

                         

                         

                         

<b>          36.
</b>
<b>                         CON'RL'??IUED :
</b>
<b>                         SANTINO
</b>          I thought these bastards wanted a
          hit --?-
          .(then)
          They're locking for World War Three.

<b>                         HAGEN
</b>
<b>                         (TO LAMPONE)
</b>          What do you think, Rocco?

<b>                         ANOTZR AY(=
</b>          As Rocco Lempone -- who walks with a limp as a souvenir
          of his service in World War Two-- thinks about it, then:

<b>                         LAMPONE
</b>          You're starting to talk about a
          pretty big operation. You're
          going to need an assault team --
          maybe two. Small arms. Ammo.
          Hand grenades. Field radios. A
          support network down there. You'll
          have to have transportation. Stag-
          ing areas.

<b>                         0 TONY
</b>          The supplies can be made available.

<b>                         LAMFONE
</b>          How about getting them down there?

<b>                         FRIAS=_
</b>          No problem. We can carry eight tons
          a trip in the DC Six.

<b>                         HAGEN
</b>
<b>                         (TO UMBERTO)
</b>          What do you think, Umberto? Can
          you get your hands on a few Anti-
          Vidalistas who wouldn't mind going
          doom there and raising a little
          hell?

<b>                         UMBERTO
</b>          I'll talk to. Doctor Earcenas,

<b>                         SANTIO
</b>          And we'll all end :zn. Faith cu= balls -
          in the g='av.

<b>          F I.R A, N&amp;
</b>          You're cetti g old, Santi no.

<b>          (C". NTINL=)
</b>
                         

                         

                         

                         

<b>          37.
</b>
<b>                         CONTLVIIED
</b>
<b>                         SAN'TINO
</b>          I'm still young enough to whip
          your ass.
          As x'rankie starts to rise, Hagen puts a stop to any
          further discussion.

<b>                         HAGR"`N
</b>          All-right. That's it.

<b>                         (THEN)
</b>          We all agree -- except Santino --
          that what Tony proposes is possible
          although not. easy.

<b>                         (THEN)
</b>          Of course, financial arrangements
          will have to be worked out --

<b>                         TONY
</b>          There's no problem there. Every-
          thing will be handled through me
          and in cash.

<b>                         HAGZN
</b>          You can tell your friends that they
          have a deal.

<b>          TONY.
</b>          Good.

<b>                         SAGE
</b>          Tell them this too --- what the
          Corleone family wants for its part
          in this operation is the uncondi-
          tional pardon of Danny DeVito. And
          that will have to come first.

<b>                         TONY
</b>          I don't know if they'll accept that.

<b>                         RAGE
</b>          It's a non-negotiable condition.

<b>                         (THHEN)
</b>          We'll start getting things lined
          up, but we won't move until Danny
          walks out of Leavenworth.

<b>          ANOTS Z-R NGLL
</b>          Sant-4-0 -a aagen:
          Sr'?,N'T'I O

<b>                         YOU REALLY
</b>          Devito?

<b>                         ( CON'"INCED )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          38.
</b>
<b>                         11 CONIINEM
</b>
<b>                         HAGEN
</b>          Why not?

<b>                         SANTINO
</b>          That would have to come right from
          the White Souse.

<b>          RA.GZN
</b>          Where do you suppose the hit order
          came frog?

<b>                         CDT TO:
</b>
<b>          EXT. CAMP PEARY, VIRGINIA - DAY
</b>
          Camp Peary is the clandestine training facility of
          the CIA, under military cover. It is near Williams-
          burg, Virginia, a couple of hours drive from. Washington.
          .cwa by the official cryptonym "ISOLATION" it is un-
          officially called The Farla" -
          The enormous, thickly-wooded area is divided intern-
          ally into tightly controlled training areas. A high
          chaintlink._fence topped with barbed wire surrounds
          the base. Signs an it read: "U.S. GOVE.SNMENT RESER-

<b>          VATION. NO TRESPASSING."
</b>          We are presently on such a sign. We hold for a moment
          as we hear ----

<b>                         INSTRUCTOR'S VOICE
</b>          A doomsday car is a vehicle which
          is loaded with a high explosive,
          such as gelignite, and left in an
          area where it will do the most dam-
          age when detonated --

<b>          EXT. TRAINING AEA (CAMP P_.ARY) - DAY.
</b>
          We are on the Instructor, a lean, mean-lacking A=Y
          Sergeant is impeccable fatigues. His manner of speech
          is Southern.

<b>                         INSTRUCTOR
</b>          Do I read disapproval on your face,
          Mister Adams?
          AsNOTR NN-- ~'
          ..ncludina the tra:..'aing class. thirty or fort., men 4=
          army fatigues. Score are dark men, mustachiced., pass
          E :t iler Saudis cr Iranians. Amcnq t!?iese we finch Tony.

<b>          ( C O N T I N U ED)
</b>
                         

                         

                         

                         

<b>          39.
</b>
<b>                         CCNT NUED :
</b>          Although he doesn't answer the Instructor, we can
          read something less than total approval on his face.

<b>                         INSTAUC'R'OR
</b>          In view of the fact that we're
          getting our butts kicked rosey all
          over the world, it might behoove
          us to take a lesson from the IRA
          and the PLO.

<b>                         (THEN)
</b>          Now, the first thing those boys'l1
          do when they aim to spread a little
          unhappiness in the ranks of the
          righteous, is steal a motor vehicle --

<b>                         (THEN)
</b>          You know how to steal a motor
          vehicle, Mister Adams?

<b>                         TONY
</b>          No I don't.

<b>                         " = 4STRLICTOR
</b>          By the time you leave Camp Perry,
          you' 11 be an expert.
          The Sergeant turns to the others.

<b>                         INSTRUCTOR
</b>
<b>                         (CONTINUING)
</b>          All right, gentlemen, this is a
          remote control detonator.. .on safe.
          Be holds up a detonator in. his hand, then points Off.:

<b>                         INSTRUCTOR
</b>          And that yonder is a doomsday ca_r.

<b>                         ANOTHER ANA
</b>          including an old car set in a valley some two hundred
          yards away. The Instructor takes the detonator off
          safe and as he activates the charge in the doomsday
          car, we zoom in. The explosion fills the screen as
          the doomsday car is blown to hell.

<b>          JISSCL'JE .C :
</b>
<b>           "NT. CT...ASSRCOM T (CAMP ?MARY) - DXZ
</b>           We are ..: a cl assrcOm in wooden a--=V ar-racks _ The
           teacher", a :Va .- Coxxna ,de: , s ? °_c t ing . -he= e are

<b>                         E
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          40.
</b>
<b>                         CONT IUED:
</b>          chalked o ptograms on the blackboard behind him.
          They are variously, ODYOKc, 'ODACID, OD MM. AELAU ,,
          AEJAMMER, AEBROOM. Tt3DOV, =ESR, .KUCAGE.

<b>                         COMMANDER
</b>          The cryptonym is a name used in
          place of the true name. In the
          company, crtonyms consist of
          two letters that determine the
          general catagory followed by a
          word -- the United States Govern-
          ment is designated by the letters
          "O" and "D", and the word "Yoke".

<b>                         (POINTS)
</b>          O-D-yoke. The Department of State,
          O -Z-acid.

<b>                         STUDENT
</b>          What's that last one?

<b>                         INSTRUCTOR
</b>          0-0--envy?

<b>                         (GRINS)
</b>          That's the FBI.
           As the group of trainees laugh, we

<b>                          CUT TO:
</b>
<b>          EXT. A. CANYON ROAD (C+ '4P PAY) - DAY
</b>
          Up'a dirt road, between the trees, comes a platoon of
          trainees, in jungle gear wet with sweat, double-tizsing
          as they chant:

<b>                         PLATOON
</b>          Hut two three four --

<b>                         REEP-BY-YA-LO'
</b>
<b>                         BEEP-BY-YA-LO-
</b>
<b>                         LO-RIGHTS-LO--
</b>          We move into the platoon, pick out Tony as he runs,
          not cocnti.nq. The Drill Instructor runs up alongside
          of Tony.

<b>                         INSTRUCTOR
</b>          You're not singing, Mister Adams.
          Aren't you harpy is our little
          croup?
           As Tonv locks over at the : - acing Drill inst? ?c cor ,
          h t en starts chanting a h --he zest
          C:iT To :

                         

                         

                         

                         

<b>          41.
</b>
<b>          EXT. PISTOL RANGE (CAMP PEAR21 - DAY
</b>
          Tony is at the pistol range, firing. As he finishes
          up the clip and draws the target back to him on a
          pully device, the Pistol Instructor comes up and in-
          spects the target with the bullseye chewed out.

<b>                         PISTOL INSTRUCTOR
</b>          Good. shooting. You do a lot of
          hunting?

<b>                         TONY
</b>          No.

<b>                         PISTOL INSTRUCTOR
</b>          Mast run is the family, then.

<b>                         TONY
</b>          You might be right.

<b>                         CUT TO:
</b>
<b>          INT.. LOCX P ICRITG CLASS (CAMP PEARY ) - DAY
</b>
          There are diagrams on the blackboard. Tumblers,
          locks, keys. There are big, half-sections of locks.
          Half a dozen. members of the class, including Tony,
          are working with picks an locks. As the Teacher
          helps Tony.

<b>                         TEACHER
</b>          On the ordinary pin tumbler cylin-
          der lock, the spring actuated
          drivers are partly in the shell
          and partly in the plug. The. trick
          is to lift them up so the plug can
          turn freely --

<b>                         (THEN)
</b>          That's right.
          The lock has opened.

<b>                         TEACHER
</b>          Once you've gotten the lock picked
          and the door opened the best thing
          is to tape the bolt mechanism back
          so you won't have to keep picking
          the lock -
          As the Teacher Instrructs the class - a la Watergate
          break-inn -- how to tace back the bolt mechanism, we

<b>                         CUT TO:
</b>
                         

                         

                         

                         

<b>                         L
</b>
<b>          42.
</b>
<b>          EXT. T: AIMING AREA (CAMP PEARY) DAY
</b>
          We are on the Drill Instructor who brandishes a
          Marine Corps knife, six-inch blade, brass knuckles
          incorporated into the handle.

<b>                         INSTRUCTOR
</b>          This object is a United States
          Marine Corps killing knife. I..
          will now demonstrate that it is
          not worth doodley shit if you don't
          know how- to use it.

<b>                         ANA ANGLE
</b>          as the Instructor looks around the circle of Officer
          Trainees and from them chooses Tony.

<b>                         INSTRUCTOR
</b>          You.. You'd like to kill me,
          wouldn't you, Sir? Well, here's
          your chance.
          The Instructor tosses Tony the knife. Tony catches
          it. As they circle,. the Instructor taunts Tony.

<b>                         INSTRUCTOR
</b>          Come on. Come on. Make a move,
          Sir. Are you falling in love with
          me? Then do something hostile.
          Make a face. Stick out your tongue.
          Do something, Mister Adams.
          Tony swings the knife. The Instructor avoids him.

<b>                         INSTRUCTOR
</b>          My little bitty sister can make a
          better move than that, Six.

<b>                         ANOTHER ANGLE
</b>          The Instructor offers a tempting target. Tony swings.
          The Instructor slaps his cap across Tony's face, grabs
          Tony's wrist and disarms him, throwing him to the
          ground.

<b>          ANOTHER ANGLE - ON TONY
</b>          The Instructor turns his back on Tony, deliherately .
          Tony gets to his feet and charges the .nst=,actorls back.

<b>          (C^NT? 2IUED )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          43.
</b>
<b>                         CONTINUED
</b>          The Instructor has been waiting for this. Re flips
          Tony again.-
          Tony lies inert an the ground. The Instructor comes
          up, beads to inspect Tony. As he does so:

<b>                         - INSTRUCTOR
</b>          All right, Sir. You ---
          Re breaks off as. Tony has driven an upper cut into
          the Instructor's balls. The Instructor grabs his
          groin and goes down in a heap.

<b>                         ANOTHER ANGLE
</b>          Tony rolls to his feet, grabs up the killing knife
          and presses it to the Instrutor's throat.

<b>                         TONY
</b>          All right you, son of a bitch, tell
          me about it..
          The Instructor is looking at Tony. Suddenly he grins;

<b>                         INSTRUCTOR
</b>          You're getting there, Mister Adams.

<b>          ANOT3ER ANGLE
</b>          Tony looks at the knife in his hand, then tosses it
          away and starts off. At this point a jeep comes
          bouncing over the hill and skids to a breadsiding
          stop.. We see that PaJ.ateer is at the wheel.

<b>          PALHA2'E.=
</b>
<b>                         (TO TONY)
</b>          Jump in.
          Tony is in the jeep. As Palmateer guns out, trailing
          a plume of dust, we ---?

<b>                         CUT TO:
</b>          tNT. RECREATION ROOM - CAMP PEAwM - DAY
          Palnateer is watching the Recreation Room television
          set on which there is a newscast of the ze ease of
          Danny DeVito frc n Leaveizwcrth..

<b>                         M ZUED )
</b>
                         

                         

                         

                         

<b>          44.
</b>
<b>                         CONTINUED:
</b>          Danny, almost as wide as he is tali., his broad pug-
          natious face wreathed in a grin, camas cut of the
          prison gate, his hands held up in the "Victory" sign.
          He pushes his way through the Television Cameramen
          and Newsmen, not saying anything.
          We pan him over to a limousine which he gets into
          quickly. The limousine drives off.

<b>                         NEWSCASTER'S VOICE
</b>          Today in Leavenworth, Kansas, one--
          time International Brotherhood of
          Dockworkers' President, Danny DeVito
          i was. released. on pardon after serving
          six and. a half years of a fifteen
          year sentence an embezzlement and
          conspiracy charges. DeVito didn't
          state his future plans, but insiders
          expect him to challenge the incum-
          bent President, Pat Brady, in the up-
          coming election.

<b>                         ANOTHER ANGLE
</b>          As Tony comes into the room, Palmateer gives him a
          pen and a couple of pieces of paper.

<b>                         I
</b>
<b>          PAL.MATEER
</b>          A couple of things for you to sign
          6 before you go operational. This is
          for your piece --

<b>                         (SECOND PAPER)
</b>          And this is your resignation. It's
          a technicality, but in case the shit
          ever really hits the fan, we'd have
          p to disclaim you.

<b>                         (GRINS)
</b>          It's called the principal of plaus-
          ible denial. We never invoke it
          until the cock crows thrice.
          As Tony is signing the papers, Palmateer has produced
          a service automatic from a canvas carryi+:g case. He
          puts it on the table before Tony ---

<b>          E=. A WAS ZNGTCN D.C. SUZZZ G - DAY
</b>          As Tony, dressed in his blues, comes out of a build-
          ing. He carries a briefcase. Cressinq to ie. curbs
          gae stexas and looks up the s ?_. eet

                         

                         

                         

                         

<b>          45.
</b>
<b>                         ANOTHER ARGLZ
</b>          As a large car pulls up and stops in front of Tony,
          he opens the door and gets into the backseat. We
          now might be able to see that F'rankie is driving.
          With him in the front seat is Santino. In the back-
          seat is Umberto Croce.
          INT'. THE L SOUS tNE - DAY
          as Tony gets in and sits next to Croce. General
          greetings, then Tony gives the briefcase to Croce.

<b>                         FRANRIE'
</b>          Where to?

<b>                         TONY
</b>          Take a right on Sixteenth Street.

<b>                         ANO ANGLE
</b>          As Croce sets the briefcase on his lap, Tony reaches
          into his pocket and gives him the key. Now Croce
          carefully unlocks the briefcase. As this is going on:

<b>                         TONY
</b>          How's. your progress?

<b>                         CROCE
</b>          Doctor Barcenas is getting an
          assaS,ilt team together.

<b>                         TONY
</b>          'Barcenas?

<b>                         CROCE
</b>
<b>                         T
</b>          A leader in the exile community.
          0 One of the early revolutionaries.
          Broke with Vidal when El Presidente
          went Marxist and abbrogated the
          Constitution. He thinks we're a
          group of business men backing him
          to get our hotel and casino back.
          Croce has gotten the briefcase open. It is full of
          cash. Tony points ahead.

<b>          TONY .
</b>          Let use of-12 at the next corner.

                         

                         

                         

                         

<b>                         I
</b>
<b>          46/48.
</b>
<b>          INSE.BT - THE BRIEFCASE
</b>          As Croce picks up a packet of hundreds cut of the
          suitcase, riffles it:

<b>                         TONY'S VOICE
</b>          It's all there.

<b>          HACK TO SCENE
</b>          As Santino grins:

<b>                         SANT=O
</b>          Straight frcm the East Coast
          Distributor.
          Tony looks over at Croce:

<b>                         CROCZ
</b>          We're in business.

<b>                         TONY
</b>          I' I L see you in Florida..

<b>          EXT. WASHINGTON STREET - DAY
</b>

<b>                         0
</b>          As Tony gets out of the limousine and crosses to a
          phone booth. We are moving in as he puts a. dime into
          the slot. and dials.

<b>                         TONY
</b>          Hiss Duane, please.

<b>                         CUT TO:
</b>
<b>          =T. LOBBY (ENNEDY CENTER) - NIGHT
</b>          We are shooting past the big, nubby sculptured head of
          Sohn Kennedy which identifies, but in no way dominates
          the long, high handsome lobby with its crimson carpets.
          The Opera is breaking for intermission and the audience
          is moving toward the bars and the terrace.
          We move to the bar where, in the crush, we find Tony.
          As everybody seems to be ordering at once---
          TONY . i
          Scotch-rocks, here. Two. Aadame,
          I believe those were

<b>                         (THEN)
</b>          Scotch-rocks. Sere. Two.

<b>                         (CODITINUED )
</b>
                         

                         

                         

                         

<b>          49.
</b>
<b>                         CONTINUED
</b>          Tony turns to watch a woman move off with two drinks-
          that were clearly his. 'Now, a. braided Admiral usurps
          Tony's place.

<b>                         TONY
</b>          I believe I was next, Sir.
          The Admiral throws a look in Tony's direction, then
          pays for the bourbon and coke and exits.

<b>                         TONY
</b>          Scotch-rocks. Here. Two..
          EXT? TEE TERRACE ( iYNEL'Y CENT~'R) - NZGET
          On the broad, impressive terrace, overlooking the curve
          of the river- as it mirrors the lights of Washington, we
          find Elizabeth, dressed for evening. She is surrounded
          by three urbane men, Morton, her Television Producer,
          Swartzwalder, a Jurist and McKissick, a young Senator.
          McKissick is lighting Elizabeth's cigarette as Tony
          comes up with the two drinks.

<b>                         TONY
</b>          Finally.

<b>                         ELIZABETH
</b>          Thank God for 'the Navy.
          As she takes her drink:

<b>                         ELIZABETH
</b>          Mister Adams,_ I'd like you to meet
          Judge Swartzwalder -- Senator
          McXissick and Jack Morton from
          wham all blessings flow ---

<b>                         MORTON
</b>          As long as the ratings hold up.
          As Tony is shaking hands around with the Judge, McKissick
          turns to Elizabeth:

<b>                         MC EISSICK
</b>          Burning the midnight oil at State?

<b>                         ELIZABETH
</b>
<b>                         (SMILES)
</b>          I wouldn't know, s°qve broken off
          relations with the State Decar ..went .

                         

                         

                         

                         

<b>                         I
</b>
<b>          50.
</b>
<b>                         ANOTHER ANGLE
</b>          Tony has heard this last.

<b>                         SWARTZWALDER
</b>          You stationed in Washington?

<b>                         TONY
</b>          On temporary assignment.

<b>                         ELIZABETH
</b>          He's doing a background on Azmando
          Vidal.

<b>                         MC RISSIC
</b>          A fine. man. And thank God we're
          back on speaking terms -- or are
          we?

<b>                         MORTON
</b>          If you don' t know, who?
          A buzzer sounds from inside. Elizabeth hands Tony
          her glass.

<b>                         ELIZABETH
</b>          Would you be an angel and
          Tony takes the glass from her, crosses and puts it
          on a nearby bench. As he does so, Elizabeth is Look-
          ing after him, as to the others:

<b>                         ELIZABETH
</b>          I've always had a =ad thing for
          sailors- They've got such neat
          little asses.
          As Tony returns and escorts her back into the theater:

<b>          CG", TO:
</b>          EXT. R"" ?MY CE:TTm..,q DRIVEWAY - NZGHT
          We are on the line of cars coming up to pick op their
          passengers outside the Eall of States. Mi..ch honking
          of Eioras, so on.

<b>          ON TON`I AND ELIZABETH
</b>          as they stand among the azagn= _coes , 1 oaki i for a
          tax:.. Elizabeth spats -ne f_--st.
          (CON°^Z `i?D ?

                         

                         

                         

                         

<b>                         7
</b>
<b>          51.
</b>
<b>                         CONTMM=
</b>
<b>                         ELIZASET:
</b>
<b>                         THERE'S ONE
</b>          Tony hurries for the taxicab.

<b>                         ANOTSEB ANGLE
</b>          as. an Airforce General intercepts the cab.

<b>                         GENERAL
</b>          Believe this is mine.

<b>          .ON ELIZABETE
</b>          As she watches Tony get outranked for his cab, then
          she spots another.

<b>                         ELIZABETH
</b>          f f ere comes another.

<b>          ANOTHER ANGT.E
</b>          as. Tony hurries for the. next cab, only to get beaten
          cut by a. State Department type with two oil Sheiks
          in tow.
          STATE DEPART.'MiT TYPE
          You're next, Ensign.
          Tony turns, signals: to Elizabeth to wait, then exits.

<b>          CLOSE - ELIZABETE
</b>          as she looks after him., puzzled.

<b>          MT. . PARE ING AREA - NIGHT
</b>          as Tony moves into. the Eennedy Center Parking area,
          looking around.

<b>          ON ELZZABET:E
</b>          She is pacing. She stops, looks at her watch, then
          turns at an insistent bbonking from -.edam: veway. We
          pull back and pan to include Tony s it ti_ng in a big,
          beautiful, official-looking sedans. ae leans across
          and opens the front door. She crosses and gets in.

                         

                         

                         

                         

<b>          52/53.
</b>          ON HALL OF STATES DOORWAY (Ba"?° CENTER) - NIGHT
          as an Admiral and his wife come out toward the drive-
          way with their guests. All are chuckling merrily at
          • something the old sea dog has said. Now his wife's
          expression alters as she looks of.

<b>          ADMIRAL' S WIFE
</b>          Charles: Isn't that our car?
          He looks off. His expression changes. He starts to
          run..
          ANOTHER ANGLEZ=n=Y• CENTER DRIVEWAY
          As Tony drives off, the Admiral runs vainly after
          his car, waving his hand..

<b>                         ADMIRAL
</b>          Stop: Stop!

<b>          INT. THE ADMI-RAL'S CAR_- NIGHT
</b>
          Elizabeth has been looking back. Now she regards Tony
          with. new and approving eyes..

<b>                         ELIZABETH
</b>          You have interesting talents, Mister
          Adams ..

<b>                         TONY
</b>          You'll be astonished.

<b>                         ELIZABETH
</b>          i I'm looking forward to it.

<b>                         CUT TO:
</b>
<b>          INT. ELIZABETH' S BEDROOM - NIGHT
</b>
          Tony and Elizabeth are in bed together making love.

<b>                         ANOTEER ANGLE
</b>          featuring Elizabeth as

<b>                         ELIZABETH
</b>          Now. Now. Yes. Now

<b>          = 14. TO :
</b>
                         

                         

                         

                         

<b>                         Y
</b>
<b>          54.
</b>
<b>          INT. BEDROOM (ELIZABETH'S APT.) - NIGHT
</b>
          Tony and Elizabeth are sitting up in bed. Tony is
          lighting her cigarette. Suddenly he pauses.

<b>                         ELIZABETE
</b>          What's wrong?

<b>                         TONY
</b>          Shh.

<b>           L E IZAB£TE
</b>          What's the ?.»..
          She breaks off because Tony has put his hand over her
          mouth. Her eyes blaze as she reaches for his wrist.

<b>                         TONY -
</b>          Noise in the living- room.

<b>                         (THEN)
</b>          There it is again.
          This time we too have heard something. He uncovers
          her mouth.

<b>                         ELIZABETH
</b>          There's a window in the front room.
          It rattles.

<b>                         TONY
</b>          I don't know.

<b>                         ELIZASETB
</b>          Well, I do.

<b>                         ANOTHER ANGLE
</b>          as Elizabeth swings out of bed, naked, crossing out
          of the bedroom and into the hall.

<b>          INT. EALLWAY (ELIZASETS' S APT.) - NIGHT
</b>
           We move with Elizabeth as she goes down the hallway.
          SST. LIVING ROOM (EZIZABE:'B' S APT.) - "r-GET
          As Elizabeth comes into the darkened ? :.ring room, suddenly
          a Man from out of "-,-.e shadows, clamps one hand over her
          .mouth and with the other hand he holds a :cr? a to her
          .mroa t.

<b>                         0
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          55.
</b>
<b>                         ANOTHER ANGLE
</b>          As a. Second Man appears. This one has a gun. The First
          Man turns to him, speaking in a whisper.

<b>                         FIRST MAIM
</b>          Bring him down here.
          The- Second. Max. nods. We follow him as very softly he
          goes down the hallway.

<b>                         P
</b>
<b>          CLOSE - THE SECOND MAN
</b>          as he pauses. outside the bedroom door which is half
          P ajar. Now suddenly he moves ---
          IDi'i:. BEDRCOM - NIGHT
          0 We are angled on the hall. door as, in a single move
          the Second Man kicks the door open and flicks the bedroom
          light on. He has his gun pointed at the bed. We whip
          pan to the bed.. It's empty.

<b>          CLOSE: - THE SECOND MAN
</b>          As for a frozen moment., surprise and consternation

<b>                         0
</b>          show an his face. At this point:

<b>                         TONY
</b>
<b>                         (VERY SOFTLY)
</b>          Don't make a noise. Just stand
          where you are or I'll kill you.
          We have pulled back and panned slightly to include Tony
          who is sitting on the. floor, his back against the wall.

<b>                         I
</b>          The gun in. his hand is, trained on the Man who has just
          -come in.

<b>                         ANOTHER ANGLE
</b>          As: the Second Man stands motionless, Tony is on. his
          feet and up to him. Tony takes the qua from him and
          tossing it an the bed gestures, forefinger to lips,
          be quiet.
          Now, Tony turns to the Man and. starts down the hall
          with him. Tony has him by the back of the jacket, his
          Tun pressed against the back of the Second Man's head.

                         

                         

                         

                         

<b>                         I
</b>
<b>          56.
</b>
<b>          INT. LIV -MIG ROOM (Z LIZABETH' S APT .) - NIGHT
</b>
          As Tony enters with his prisoner, the First Man - the
          one with the knife -- still has his weapon pressing
          into Elizabeth's throat. He is looking the other way,
          but turns as: _

<b>                         TONY'S VOICE
</b>          Turn very easy.
          The First Man turns, sees Tony and the Other Man.

<b>                         TONY
</b>          S've got a. gun at your partner's
          head.
          There is 'a beat, then:

<b>                         FIRST MAN
</b>          Drop the gun or I slit her throat.

<b>                         TONY
</b>          You drop the knife.

<b>                         FIRST MAN
</b>          Don't you think I'll kill her?

<b>                         0 TONY
</b>          Z don't give a shit if you kill
          her. I_ said crop the knife.

<b>          ANOTRER ANGLE.
</b>          As the Second Man -- overconfident at finding hi=self
          still alive -- speaks to his partner.

<b>                         SECOND MAN
</b>          Cut her a little bit to convince
          this asshcle. Open up her throat.
          Suddenly the Second Man's knees buckle as. Tony, in a
          lightning move, brings the gun barrel down across the
          Man's head.
          As the Second Man is on his hands and knees, Zi.?ce a
          stunned ox, dripping blood on the carpet, Tony tuns
          once more to the an with the knife.

<b>                         TONY
</b>          I'm going to give you one more
          chance. Trot the k:i-`f:a and !'I--l
          let you go .

                         

                         

                         

                         

<b>                         -T
</b>
<b>          57.
</b>
<b>                         CONTINTED: -
</b>
<b>                          FIRST MAN
</b>
<b>                         (LAUGHS)
</b>          7. 111 cut her fucking head off,
          first.

<b>                         ANOTSER ANGLE
</b>          as the Second Man, still on his hands and knees, now
          pushes himself up to a kneeling position.

<b>                         SECOND MAN
</b>          Show him a little blood.
          As the Man with the- knife nods grimly, Tony puts his
          gun to the back of the kneeling man's head and calmly
          pulls the trigger.

<b>                         ANOTBER ANGLE
</b>          The. kneeling man plunges for+qard, dead, the back of -
          his head blown off.. Tony now turns, without emotion,
          to the man with the knife.

<b>                         TONY
</b>          That's what you're going to look
          like in two seconds if you harm
          that girl..

<b>                         ANOTRER ANGLE
</b>          As the First Man drops his knife and releases Elizabeth,
          she is locking at Tony, stunned, her aplomb totally
          vanished.

<b>                         TONY
</b>          Go get dressed and call the Police.
          Elizabeth nods and half-stumbles out of the room. Tony
          crosses to the Man.

<b>                         (CONTIJ UED )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>                         I
</b>
<b>          58.
</b>
<b>                         (CODITINT1EI1)
</b>
<b>                         FIRST XUX
</b>          when the cops come, you're going
          to be up on a murder rap, baby.

<b>                         TONY
</b>          No, I'm not.
          Tony lifts the gun and blasts the First Man three
          times in the chest.

<b>                         ANOTHER ANGLE
</b>          as Elizabeth bursts bac k into the room, looks, then
          starts to scream. Tony crosses up and taking her in
          his arms, softly comforts her.

<b>                         TONY
</b>          It's all right.. He tried to get
          my gum away and I had to shoot him.
          As. Tony, still comforting her, moves her away, We --

<b>                         DISSOLVE TOT
</b>
<b>          EXT. EVERGLADES BAY - DAY
</b>
          We are in a swampy backwater on the West Coast of
          Florida, south at Fort Meyer. Hacked out of the
          everglades is a clearing on which a tourist acccmmo-
          dation has been built. It is called Tarpon Lodge
          and signs announce "Cold Beer", "Boat Rentals" and
          "Tourist Accoammdations". There is a small pier.

<b>                         ANOTHER ANGLE _
</b>          as a small, commercial fishing boat comes chugging
          up the bayou and blows its whistle.

<b>          CLOSER - THE FISH=TG 3O
</b>          as a Latin American, Roberto Barcenas, about 3S,
          comes out to the bow of the boat, locks off toward
          the tourist cabins. Roberta is a capable, cool,
          izstelligent man.

<b>          E&lt;'CT. T9Y T RPON :IODGZ - DAY
</b>          as Umberto Croce, dressed in white and weariri a straw
          hat against the sun,. ccmes out or she ramshackle lodge
          and moves to the of

<b>                         0
</b>
                         

                         

                         

                         

<b>                         59A
</b>
<b>                         THE PIER
</b>          Crewmen of the fishing boat are tieing up as Roberto
          Barcenas comes down onto the pier followed by half a
          dozen others. They are radio, Borracho, Padre Pepe,'
          El Fararon, Arrigo and Roberto's younger brother, Jorge.
          Croce and Roberto embrace, then :

<b>                         CROCE
</b>          This way.
          M=. As AIRSTRIP - DAY
          A rough airstrip has been bulldozed out of the scrib
          pine and palmetto forest. At one end is a hanger and
          on its side the words: INTER-CAR EAN CBAMTERS.
          As Croce and the Latin Americans come up:

<b>          CROCE.
</b>
<b>                         TONY:
</b>
<b>                         1 0 ANOTHER ANGLE
</b>          1 Inside-the hanger we see a D.C. Six. Tony comes out
          cleaning cosmolene off his hands with a rag.

<b>                         CROCE
</b>          Tony, I' d :like you to meet Doctor
          Barcenas.

<b>                         TONY
</b>          I'm pleased to meet you, Doctor.
          They shake hands, then:.

<b>                         ROBERRTO
</b>          Permit me to present my companions --
          Indio, Borracho, Padre Pepe, El
          Fararon, Arrigo and my brother, Jorge.
          The members of the assault team -- the Indian, the
          Drunk, the Priest, the Pharoah, Arrigo who looks
          like a pimp, and the romantic, fire-eating younger
          brother -- are introduced to Tony individually. Xd
          lib greetings, then to Barcenas:

<b>                         TONY
</b>          Are you read-!?

<b>                         (CCINNTINUED 11
</b>
                         

                         

                         

                         

<b>                         60-
</b>
<b>          CONT=T Z :
</b>
<b>                         ROBERTO
</b>          For many years.
          As they move into the hanger:

<b>                         ROBERTO
</b>          Z understand from Senor Croca that
          the idea with the diving suit did
          not work out.

<b>                         I TONY
</b>          There were a few problems.

<b>                         ROBERTO
</b>          But the other is. fine?

<b>                         TONY
</b>          Yes. ,

<b>                         (THEN)
</b>
<b>                         D
</b>          You've been in. touch with your
          underground?

<b>                         ROBERTO
</b>
<b>                         (NODS)
</b>          Everything is arranged.

<b>          INT THE EA2GAR - DAY
</b>          At one side of the hangar we see crates of various
          weapons. Boxes of hand grenades, mortars and mortar
          shells. Sub-machine guns caked in cosmolene, LAW
          rockets, field radios. So on. As Tony and Roberto
          come in, followed by the others:

<b>                         TONY
</b>          we got you BARS and Carbines
          plus ten, thirty calibre light
          machine guns, and ten, four-point
          t o inch mortars with a thousand
          rounds of high explosive and a
          thousand, rounds of white phosphorous.
          Tony is pointing out the various boxes and crates:

<b>                         JORGE
</b>          What about sub-machine guns?

<b>                         TONY -
</b>          Thirty or; them. Tarty-five calibre
          nine millimeter. With ten thousand
          rounds.
          (po.ints
          Over there.

<b>          (CONTT-.?_-D )
</b>
                         

                         

                         

                         

<b>          61.
</b>
<b>                         CONT=TISW
</b>          As Jorge crosses. over to the box of weapons, picks
          one up in his.hands:

<b>                         JORGE
</b>          Ten thousand rounds! Aye de mi!

<b>                         ANOTEER ANGLE
</b>          as. Tony picks up and hands Roberto a long, olive green
          plastic tube.

<b>                         TONY
</b>          We also got you two hundred Sixty-
          six, millimeter, M-72 LAW rockets.
          They're lightweight, one-shot dis-
          posable Bazookas.

<b>                         (THEN)
</b>          There is also field gear, medical
          supplies, tentage, demolition mater-
          ials, combat rations ---
          Arrigo, the. pimp, comes up, takes the LAW rocket from
          Roberto, then:

<b>                         ARRZGO
</b>          We make a little trouble for E:
          Presidents, hey?

<b>                         JORGE
</b>          When do we leave?

<b>                         TONY
</b>          You, go in tomorrow to get it ready.
          I'll meet you down there at the end
          of the week.

<b>                         (THEN)
</b>          Who's your radio man?

<b>                         PEPE
</b>          t am.

<b>                         TONY
</b>          I'll show you the set up.
          As Tony and Padre Pepe move off together toward. a
          short wave radio set up in the corner, ae --

<b>                         CUT TO:
</b>
                         

                         

                         

                         

<b>                         K
</b>
<b>          62.
</b>
<b>          EXT. LAS VEGAS HOTEL (SWT_NZU TG POOL AREA) - DAY.
</b>
          We are in a long shot and angled downward on the swim-
          ming pool. area of the Corleone Family's Las Vegas
          flagship hotel. Into the shot, threading their way
          between the girls in their bathing suits, came Sam
          Xaatrocina and Ralph Augusta, walking purposefully.
          We zoom back ---

<b>          INT. TOM HAGE"N' S ©FFICE (LAS VEGAS HOTEL) - DAY
</b>
          We are on Rocco La=pone, who is standing by the window,
          looking out onto the pool area. As he turns:

<b>                         LA ONE
</b>          Here they came.
          We are pulling back. Also present in the large, attrac-
          tive office, are Tom Hagen, Danny DeVito and Sant no
          Corleone, who is at the bar fixing drinks.

<b>                         SANTINO
</b>          Half an hour late.

<b>                         DEVIT0
</b>          0 I'm happy he's here at all. That
          means he's willing to talk like
          a reasonable man.

<b>          L.A ONE
</b>          Tell A3..ieri about it.

<b>                         HAG=
</b>          What you've got to understand,
          Rocco, is that what happened to
          Al was business. What's done is
          done. The important thing is to
          avoid trouble if we can. This
          isn't the old days. The Five
          'Family wars are over and done with.

<b>                         LAMPONE
</b>          Maybe that's too bad.

<b>                         ANOTEEQ ANGLE
</b>          as Santino comes over with the drinks io± Hagen and
          DeVito. As Danny accepts his-drink and raises it to

<b>                         HAGEN:
</b>
                         

                         

                         

                         

<b>          63.
</b>
<b>                         CONTINUED:
</b>
<b>                         DEVITO
</b>          To you -- all of you. I'll never
          be able to thank you for what you
          done.
          As DeVito drinks, the intercom is buzzing. Hagen
          flicks it.

<b>                         SECRETARY'S VOICE
</b>          Mister Maatxocina and Mister Augusto
          are here, Sir.

<b>                         HAGEN
</b>          Send them in, please.

<b>                         ANOTHER ANGLE
</b>          Eagen comes around his desk to the door to greet
          Maatrocina as he enters, followed closely by the
          cold-looking Ralph Augusto.

<b>                         EAGEN
</b>          Sam. Z'm glad. you could come.
          Ralph. Good to see you. What
          are you drinking?

<b>                         MAATROCINA
</b>          Z'11 take a little bourbon with
          you._ On the rocks.
          Sagem nods at Santino who crosses to the bar to make
          the drink, as Hagen turns now to Augusto.

<b>                         HAGEN
</b>          Ralph?

<b>                         AUGCSTO
</b>          Nothing.

<b>                         HAGEN
</b>          Coke?

<b>                         AUGUSTO
</b>          Nothing.

<b>                         ANOTHER AN=
</b>          As Santin_o is making the drink; Kaat--ocL-za tax.,.--ns to
          Danny DeVito, shaking hands.

                         

                         

                         

                         

<b>                         I
</b>
<b>          .7
</b>
<b>          64.
</b>
<b>                         CONTINUED:
</b>
<b>                         MAATRCCI4A
</b>          Let. me save us all some time. I
          know the Hagen-Corleone Family got
          Danny sprung and I'm glad about it ---

<b>                         (TO DEVITO)
</b>          From the heart.

<b>                         DEVII'O
</b>          Thank you, Sam. I :snow you mean
          it.

<b>                         MAATROCI A
</b>
<b>                         (TO HAGEN)
</b>          I also know how you swung it --
          (grins, holds

<b>                         UP HAND)
</b>          Yeah. That's right. You aren't
          the only ones with a friend or
          two in. Washington. Don't under-
          estimate me.

<b>                         RAG=
</b>          We never have, Sam.

<b>                         MAATRCCINA
</b>          One more thing I know -- Danny' s

<b>          ? •
</b>          a big hero to the rank-and-file.
          He'll leave Pat Brady for dead in
          this Special Election that's coming
          up. Okay? So that leaves one thing
          to talk about.

<b>                         HAGZN
</b>          How we can all accommodate to this
          new situation.

<b>                         MAATRCCINA
</b>
<b>                         (GRINS)
</b>          I don't know from accc=cdate --
          just so we all get a chance to
          drink from the well.

<b>                         HAGS
</b>          Problem being, for the vast five
          years the well dried up an us as
          you might say. It was almost as
          it Pat Brady had scmethin q against
          us personally.

<b>                         TROCT A
</b>          T=, Tcm. "cu should have come
          to me.

<b>                         E (CONTINCZD )
</b>
                         

                         

                         

                         

<b>          65.
</b>
<b>                         CONTZY[JZD :
</b>
<b>                         EAGEN
</b>          You don't like to bother your
          friends about these matters.

<b>                         MAATROCINA
</b>          What are friends for?

<b>                         HAGW
</b>          In any case, the problem is solved
          ar will be soon. Tice well is ao
          longer dry.

<b>                         MAATROCINA
</b>          And. everybody gets to fill his
          bucket. That's as it should be.
          After us.

<b>                         MAATRCCINA
</b>          Meaning what exactly?

<b>                         SAG=
</b>          We need a loan of fifty million
          dollars. That has to be the first
          order of business ---

<b>                         MAATROCI A
</b>          The Atlantic City Hotel?

<b>                         BABY
</b>          1 That's right.

<b>                         I
</b>
<b>                         ANOTHER ANGLZ
</b>          As Maatrocina makes flat paddles of his hands and points
          them inward to his chest as he turns to DeVito.

<b>                         MAATROCLVA
</b>          And what am t? An orphan? I want
          to get in on Atlantic City, too.

<b>          DEV.ITO
</b>          You had it all your way for the
          last five years, Sam. Let some-
          body else do business.

<b>          . AATROCINA
</b>          I got ao cb7ectio:t - ,a him doing
           business --- i just want to do
          business, too. Kay?
          What Hagen gets, :: get.

<b>                         LI
</b>
<b>                         (CCNTI'TCZD )
</b>
                         

                         

                         

                         

<b>          66.
</b>
<b>                         CONTINITE
</b>
<b>                         DEVITO
</b>          Are you talking about a hundred
          million dollars?

<b>                         MAATRCCINA
</b>          If fifty and fifty still make a
          hundred, that's what I'm talking
          about.

<b>                         DEVITO
</b>          it can't be done.

<b>                         MAAT;RCCINA
</b>          Don`t you think I know how much
          money you-'ve got in that goddamned
          pension fund?

<b>                         HAGEN
</b>          He's also got the Department of
          Labor, a board of trustees and
          the SEC looking down his throat.
          He can't make that large a commit-
          ment.

<b>                         DEVITO
</b>          We` can't put more than twenty-five
          percent of our assets into real

<b>                         ESTATE ---
</b>
<b>                         MAATROCINA
</b>          Is that what you brought me across
          the country for?' To tell me I'm
          getting frozen out?

<b>                         DEVITO
</b>          Nobody's freezing anybody.

<b>                         MAATROCIXA
</b>          Then why do I feel these chilly
          winds nipping at my ass?

<b>                         DEVITO
</b>          You should felt the winds in that
          joint. It was Sagen that got me
          out.

<b>                         (THEN)
</b>          He comes first. You come second.
          That's the way it is.

<b>                         MAATH(3CINA
</b>          How f2ar second?

<b>                         (CONTSNC?? )
</b>
                         

                         

                         

                         

<b>                         I E
</b>
<b>                         Y
</b>
<b>          67.
</b>
<b>                         CQNTNMED
</b>
<b>           DEVI.TO
</b>          Youtve gat to. give me a year.

<b>                         MAATRCCIYA
</b>          We both want tc get into Atlantic
          City. L can't give them a year's
          head. start.

<b>                         ANOTEM ANGLE
</b>          asDe Vito looks over at Tom Eagen.

<b>                         DEVITO
</b>          Tom? What if-you people take thirty
          and Sam takes twenty?

<b>                         SAG=
</b>          T have to have fifty. That`s defw
          I inite.. You knew it and agreed to
          it in front.

<b>                         DEV2TO
</b>          Sc that we can all part friends ---
          what about forty-ten?

<b>                         MAATROCIA
</b>          I •st. not taking any ten. What
          they get. I get. That is final.

<b>                         DEVITO
</b>          I All. right, All right. Maybe Z
           can work something out. Z' 11
          try`.
          MAATROC n A
          Try hard.

<b>                         ANOTSER ANGLZ
</b>          Maatrocina glances over at Augusta. They rise.

<b>                         EAG=
</b>          Thank you for coming, Dan Haatro--
          cina. I'm. sure we can find a way
          to live toget?..er in peace.

<b>                         4AATRCCI A
</b>          Of course, my old friend,
           :Kaatrcc: na ad ? i s aoodbves a; ound and and Angus Lo

<b>                          LEAVED HE
</b>          49 (C Ci TIN-G"ED )

                         

                         

                         

                         

<b>          68.
</b>
<b>                         CON'I INIIED :
</b>
<b>                         HAGE??1
</b>
<b>                         (TO LAMPONE)
</b>          You might have to go one on one
          with Augusto before we're finished.

<b>                         LAN ONE
</b>          I'm counting on it.

<b>                         ANOTHER ANGLE
</b>          As Lampone crosses to the window to watch Augusto
          and Maatrocina leave through the pool area below,
          Hagen moves to Danny DeVito.

<b>                         HAGEN
</b>          I'd like to put a couple of people
          with you,, Danny.

<b>                         DEVITO
</b>          I don't need your people, Tom.

<b>                         (THEN)
</b>          Sam and I go back a long ways. He
          knows I' U. come up with something
          for him.

<b>                         SANTINO
</b>
<b>                         (TO DANNY)
</b>          Why-don't you stick around? See
          the show? Maybe the tooth fairy
          will. stuff one of those long-legged.
          blondes under your pillow.

<b>                         DEVITO
</b>          I'll take a rain check.

<b>                         ANOTHER ANGLE
</b>          As Devito grins, shakes hands around and exits, Hagen
          turns to Santino.

<b>                         HAGEN
</b>          I want you to fly to Washington
          tonight. Talk to Senator Geary.
          Anybody you have to. But find out
          who ' s on Maatrocina' s payroll.

<b>                         (THEN)
</b>          I don't like him knowing about Tony.

<b>                         UUMPCNE
</b>          Neither do 1.

<b>                         (CONTINMED )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          69.
</b>
<b>                         CCNTI2MED :
</b>
<b>                         SANTINO
</b>          You think he's walking into some-
          thinq down there?

<b>                         BALM
</b>          That's what I want you to find out.
          As Santino turns and goes, we ---

<b>                         CUT TO:
</b>
<b>          EXZ. LATIX-AMERICAN CI"-''T- NIGHT
</b>          We are as the sky over the bay of Armando Vidal's
          Capitol. It is the Fifth Anniversary of his revol-
          ution and a fireworks display is taking place over
          the bay. Sky rockets are arching upward over the
          waters, exploding in cascades of red, green and gold.

<b>                         CUT TO:
</b>
<b>          A STET COMM - NIGHT
</b>          We are on an impromptu exhibition on a street corner.
          A big, marvelous looking black Girl, in almost nothing,
          circles with a lean Latino almost touching but not quite,
          in a hip grinding mambo .

<b>                         E
</b>
<b>                         ANOTSER ANGLE
</b>          as the crowd laughs and cheers them on.

<b>                         A WOMAN
</b>          Aqua!
          We move up to a loud speaker attached to an ornate and
          bunting festooned.lampost. From the speaker we hear:

<b>                         VIDAL'S VOL=
</b>          But make no mistake, any of you --
          you of the North American delega-
          tion in particular. We welcome
          you to our Count=y -- but the days
          of exploitation are over.

<b>                         CUT" TO:
</b>
<b>          INT. BALL.COM - ECTE'L OE 3ZVOLCCICN - NIGHT'
</b>
          Ei Presi.dente, A.. andc V .dal, is speaking to a crowd
          j?n the Grand 3allrcomm. The usual tel.evisicn cameras,
          so,or_.

<b>                         0
</b>
                         

                         

                         

                         

<b>                         T
</b>
<b>          7Q.
</b>
<b>                         ANOTHER ANGLE
</b>          As the predominantly Latin American crowd cheers, we
          pick out Tony, in civilian clothes, amongst. the' cheer-
          ing people.

<b>                         VIRAL
</b>          The blood of our martyrs is still
          too fresh on our pavement. We will
          be friends and neighbors, but never
          again slaves to Imperialism.

<b>                         1
</b>          A young Latino, and we will recognize him as Ar=igo,
          has moved to Tony's side. As the cheers have erupted
          once more, Amigo, with'a brief nod of the head, indic-
          ates that Tony shouldfol:ow him.

<b>          ANOT'_R ANGLE
</b>          As Arrigo goes, Tony looks after him briefly, then over
          to the American Delegation including Lucas, the Assistant
          Secretary of State for Latin American Affairs; Cariock,
          the Speaker of the House and several prominent liberal
          Senators including McKissick of Utah and the elegant
          Harthaiemew of Pennsylvania.
          Also in the delegation, in uniform, is Stu Palmateer.
          The older man's eyes meet with Tony's for a brief
          moment. He has seen the exchange. He watches as
          Tony leaves, then looks over toward u_agudo, Vidal's

<b>                         I
</b>          Chief of Police. The harsh, heavy Policeman is laugh-
          1 ing at something Vidal has said, seemingly paying no
          attention to Tony's exit.

<b>          INT. LOBBY ECT!L ME LA REVOLUTION - :TIGHT
</b>
          As Tony is crossing the lobby, Elizabeth Ann Dunne,
          followed by 'a small entourage, enters. Half a pace
          behind her is Kenny Morton, her producer and behind
          them are three men carrying portable TV equipment,
          cameras, tripods, batteries, so on. She is speaking
          to 8e.ny..

<b>                         ELIZABETH
</b>          With all due respect, that's bull-
          shit.. The man's obviously inccm-
          petent or the car wcu: d have been

<b>                         WAITING EXACTLY
</b>          She breaks cf-f . seei nc Tony.

                         

                         

                         

                         

<b>          71.
</b>
<b>                         TONY
</b>          Hi.
          She stops. Ee crosses up:

<b>                         TONY
</b>          r thought you weren't coming down
          here.
          She doesn't answer.

<b>                         TONY
</b>          Aren't we speaking?

<b>          E L IZA3ET3
</b>          I. don't 'know.
          Elizabeth crosses off toward the desk, Tony looks
          after her for a moment, puzzled, then crosses out.

<b>          EXT. HOTEL DE LA REVOLCCION - NIGHT
</b>
          As Tony comes out of the hotel and crosses the garden
          grounds toward the street, we see that a fireworks
          display is still in progress.

<b>          EXT. AVENIDA DE LA R VOLUCION - NIGHT
</b>
          Throngs of Merry-makers are moving along the wide,
          palm-lined avenue that follows the curve of the bay.
          Many are in cost=e. Some play instruments. Others
          have bongo drums. The atmosphere is frenetic. There
          is. a pervasive beat. The whole city seems to throb
          with it.
          We are on Arrigo who stands outside the flaw of traffic,
          cigarette in his mouth, patting his pockets for a match.
          Tony comes- up and lights ArrigoIs cigarette. As he

<b>                         DOES SO
</b>
<b>          A.RASGO
</b>          Se sure you have your identification.
          Maguda's pescadores -- you understand?
          The Police -- they're out f.sh..:g
          tonight.
          We are on aaather c=oup Of G-4-is azd :Men i a ?rildly
          sexual dance.

                         

                         

                         

                         

<b>                         I
</b>
<b>          72.
</b>
<b>                         CONTINT :
</b>          We pan off them to Arrigo passing. Tony follows. We
          move. in closer to Tony. A big, fat Mama comes out of
          a doorway, shakes everything she has at him. Tony grins,
          pats her on the ass and -passes by

<b>          EXT. EARBOR AREA - NIGHT
</b>
          We are on the part of the harbor where the big fishing,
          boats tie up. The sound of the celebration is fainter
          now, a couple of blocks distant. We are on an old,
          but seaworthy fishing boat; the name on the stern is
          "Stelia.Maria". Amigo comes up the pier, pauses by
          the short gangway.

<b>                         ANOTEER ANGLE
</b>
<b>                         I
</b>          As Tony comes up and joins Axr-igo a Third man suddenly
          appears out of the darkness. As he comes up to Tony,
          we recognize Jorge Baxcenas.

<b>                         JORGE
</b>
<b>                         (SHAKING HANDS)
</b>          You bring it?

<b>                         TONY
</b>          Yes.

<b>                         JORGE
</b>          This way.
          Jorge leads them aboard.

<b>          INT. MAIN CABIN (STELLA MAR15) - NIGHT
</b>
          In the cabin are Roberto Barcenas, Indio, ?araron,
          Padre Pepe'and Borracho. There is also a girl, Angelica,
          25. She has dark eyes and blonde hair. There is some-
          thing faintly flashy but also enormously sensual about
          her..
          One Man is cleaning a stripped automatic rifle. Another
          is loading a banana. clip with 30 calibre bullets. Barcenas,
          the girl and some others are bent over a map on the mess
          table. All. cook up as Tony, Jorge and Arrigo enter.
          T _tobertc smiles warm- , canes up and embraces Tony.
           (C'J1?I'r ?`ILT'ED i

                         

                         

                         

                         

<b>                         T
</b>
<b>          - 73.
</b>
<b>                         CONTLIUM
</b>
<b>                         ROBERTO
</b>          It's good to see you, my friend.

<b>                         (THEN)
</b>          All goes well?

<b>                         TON
</b>
<b>                         (NODS)
</b>          And you?

<b>                         ROBERTO
</b>          Everything is ready. Arms and
          aumm=ition distributed. Now the
          waiting.

<b>                         TONY
</b>          You've set a time?.

<b>                         RCBEATO
</b>          Day after tomorrow. Seven A.M.

<b>                         (CHECKS WATCH)
</b>          Th.zrty-four hours.

<b>                         (THEN)
</b>          This is Aujelica. A great good
          friend of E1 2residente. She knows
          where he keeps his toothbrush-

<b>                         TONY
</b>          Good.

<b>                         ANJELICA
</b>          You have something for me?

<b>                         ANOTHER AN=
</b>          as Tony unbuttons his shirt and strips off a money
          belt which he puts on the table and opens. 'IIe takes
          out some money.

<b>                         TONY
</b>          A hundred thousand pesos, cash.
          Count it, please.
          As Roberto takes up the money and counts it., Tony
          takes out a small vial in a plastic container.

<b>                         TONY
</b>          And this.

<b>                         (THEN)
</b>          It's tasteless and odorless, but
          it has a vet-,,? short period of tox--
          ic.Z. ty --- do you understand? Once
          s opened it must be used within
          twenty-four hours.

<b>                         (CCNTI UZ )
</b>
<b>                         I
</b>
                         

                         

                         

                         

<b>          74.
</b>
<b>                         CONT2NUHD
</b>
<b>          ANJ ?ICA
</b>          How soon does it work?

<b>                         TONY
</b>          The symptoms are those of botulisat.
          High fever, nausea, vomiting, and
          death. Within an hour.

<b>                         ROBERTO
</b>
<b>                         (TO ANJELICA)
</b>          Hadn't you better be getting back?

<b>                         ANJELICA
</b>          Yes..

<b>                         ANOTHER ANGLE
</b>          As Anjelica turns, her coat swings open slightly and
          we see that she is dressed in a costume.-- a typical
          Tropicana showgirl kind of thing.

<b>          ANJELIC .
</b>
<b>                         (TO TONY)
</b>          Good night.

<b>                         TONY
</b>          Thank you.

<b>          ANJ%-"LICA
</b>          For nothing. When we meet again
          things will be better.

<b>                         JORGE
</b>          Be careful of 4agudo's fishermen.
          They're out in force tonight.
          Anjelica nods. Roberto hands her the money, then
          kisses her on. the cheek.

<b>                         0
</b>
<b>                         ROBERTO
</b>          Vaya can Dios, Chica.

<b>                         ANOTSMR ALYGZZ
</b>          She staffs the money in the pocket of the overcoat and
          exits. Roberto looks at A..-.rigo who nods and follows
          her out. Vow Roberto looks back at Tony.

<b>                         TONY
</b>          Have the supporting omeratic n.s
          been set urz?
          E (CCNT? iUED)

                         

                         

                         

                         
          .i

<b>          75.
</b>
<b>                         CONTINUED :
</b>          Jorge crosses to a map on the table.

<b>                         JORGE
</b>
<b>                         (POINTS)
</b>          Sere. Here. Here.
           As Tony crosses and studies the map, we

<b>                          CAT TO:
</b>
<b>          A SMALL CITY PARK - NIGET
</b>          The celebration on Vidal's Capitol is still in progress
          in this small city park. Suddenly, a police truck
          appears in one of the streets, blocking it, and a fly-
          ing squad of armed police piles out of the canvas-
          covered rear and. The Sergente blows his whistle.

<b>                         SERGENTE
</b>
<b>                         (IN SPANISH)
</b>          identification check. Have your
          cards ready.

<b>          ANOTTER ANGLE -- TE CROWD
</b>          We. see A.-rigo and Anj el ca moving through the crowd.
          They stop, exchange a look and then turn- and Move the
          other. way_ We follow them through the crowd to a small
          alley. Amigo and Anjelica and a couple of others, who
          1 would apparently just as soon not be stopped by the
           police, move down the alley.

<b>          INT. ALLEY - NIGST
</b>
          As Anjelica and Arrigo move down the alleyway, con-
          gratulating themselves on their escape from Magudo's

<b>                         I
</b>          men, suddenly three Policemen materialize out of the
          darkness ahead.

<b>                         POLICEMAN
</b>
<b>                         (IN SPANISH)
</b>          Not so fast my friends ---

<b>                         (THEN)
</b>          Against the wall, Pockets inside
          out. You too, blondie.

<b>                         CTT TO :
</b>
<b>                         171
</b>
                         

                         

                         

                         

<b>          76.
</b>
<b>          I NT. POLICE STATION - ?SIGHT
</b>          Half a dozen of the disreputable fish that have been
          caught in Magudo's net are sitting on a bench against
          the bare, dirty walls of the bare, high-ceilinged room
          with its one unshaded bulb hanging from the ceiling
          illuminating the suspects and Police alike harshly.
          On one side of the room is a barred "tank" or holding
          cell. There is a fat Capitan behind the desk and
          another Policeman, pockmarked and hawkish, looking,
          working an some papers at another desk. The Sergente
          comes in with Anjelica and Arrigo.

<b>                         ARRIGO
</b>
<b>                         (IN SPANISH)
</b>          This is an outrage: I protest:
          SEr A?E

<b>                         (IN SPANISH)
</b>          Sit down!
          The Sergente shoves Arrigo violently toward the bench
          as we ---

<b>                         CQT TO:
</b>
<b>          INT'? HOTEL DE LA REVOLTJCICN LOBBY - NIGHT
</b>          We are on the doors of the hotel as Tony enters and
          crosses the large lobby toward the elevators.

<b>                         ANTHER ANGLE
</b>          Over in one corner of the lobby we see Palmateer in
          a group with several others of the United States
          Delegation. Tony raises a hand to Palmateer who nods
          back as Tony continues toward the elevators.

<b>                         I
</b>
<b>          ANOTHER ANGLE - BY DESK
</b>          as the Desk Clerk, who has been watching the door,
          signals over to a uniformed Security Officer. The
          Security Officer nods and crosses to intercept Tony.
          As he does so:

<b>                          SECURITY OFFIC^11
</b>           Senor Adams.
           Tony stops. The u::==sing Security Officer crosses
          ."p to m .

                         

                         

                         

                         

<b>                         CONTZT ED:
</b>
<b>                         TONY
</b>          Yes?

<b>                         SECURITY CFFICZR
</b>          There is a message for you. A
          friend. of yours wishes to see you
          in the bar.
          tN'I'. HOTEL DE LA REVOLUCION BAR - NIGHT
          The place is reasonably crowded, even at this hour.
          We are on Elizabeth Ann Dunne who is the center of
          a small circle of admirers, including Kenny Morton.
          She looks off, sees Tony entering, then excuses her-
          sel-f and crosses up to Tony who stands in the doorway.

<b>                         CLOSER
</b>          as Elizabeth comas up to him.

<b>                         ELIZABETH
</b>          I want to talk to you.

<b>                         0 TONY
</b>           I take it this definitely means
           we're speaking again.
           She draws him to an empty booth and as they sit:

<b>                         I
</b>
<b>                         ELIZABETE
</b>          I'm going to tell you a secret.
          It wouldn't take an awful lot for
          me to get hung up on you. Okay?
          But I've got this problem --

<b>                         (THEN)
</b>          You scare me.

<b>                         TONY
</b>          What are you talking about?

<b>                         ELIZABETH
</b>          You, sport. Adams, Anthony. No
          middle initial.

<b>                         (THEN)
</b>          Are you really with the Navy or
          was that just so much malarkey?

<b>                         TONY
</b>          What makes you thi:Lk --l'm not with
          the Navy?
          1 CO 1 .i...Y U 0

                         

                         

                         

                         

<b>                         I
</b>
<b>                         I
</b>          77-i.

<b>                         CONT+MME :
</b>
<b>                         ?? ELIZABETE
</b>          Tou know what I heard in Washington?
          That something very interesting might
          happen down here.

<b>                         TOONY
</b>          -Where did you hear that?

<b>                         ELIZABETS
</b>          You wouldn`t know anything about it,
          would 'you?

<b>                         TONY
</b>          I want to know where you heard that.

<b>                         ELIZASETS
</b>          What difference does it make, it's --•-
          Tony is on his feet and moving oui of the bar ae 2.

<b>          INT. EOTEL DE LA REVCLLCION LOBBY - NIT
</b>
          The all group of Americans, of which Stu Palmateer
          was part, has broken up. Palmateer is moving toward
          the elevator, but turns as he hears -----

<b>                         TONY'S VOID
</b>          Stu?
          As Tony comes up:

<b>                         PALMATEEE
</b>          Scmething wrong?

<b>                         TONY
</b>          I don' t know.
          They wove casually toward the newsstand. Palmateer
          Picks up a'Spanish language newspaper, idly scans it,

<b>                         THEN :
</b>
<b>          PALZ4AT'.'..E?B
</b>          What's the problem?

<b>                         TONY
</b>          Sow many people know about t:-his
          mission?
          oAL.u.ATv-ZR
          Why?

                         

                         

                         

                         

<b>          78.
</b>
<b>                         TONY
</b>          Z think there's been a leak in
          Washington.

<b>                         PAT MATER
</b>          There are only five people who have
          any idea what's going on.

<b>                         TONY
</b>          is Artier Grundellius one of them?

<b>          PALMAT,.E'?
</b>          Yes.

<b>                         TONY
</b>          F Then maybe it's not that serious. -

<b>                         PALMSATEER
</b>          I If yon think the mission's compro-
          mised, we'll abort.

<b>                         TONY
</b>          No. I think it's all right.

<b>                         (THEN)
</b>          See- you tomorrow..

<b>                         ANOTAR ANGLE
</b>          Palmateer crosses to the elevator as Tony moves back
          toward the barroom. We move with Tony as a Bellboy
          intercepts him.

<b>                         BELLBOY
</b>          Senor Adams? There is a phone call
          for you. You can take it on the
          house phone if you like.
          Tony nods,.tips the Boy, then crosses to the house-
          phone and picks it up.

<b>                         TONY
</b>          Yes?

<b>          IT. DC RSILE EATING PLACE - NIGHT
</b>          Jorge 3arcenas is at a public phone.

<b>                         JORGE
</b>          You zeccgnize my voice?

<b>                         (THEM
</b>          You better net down here right
          away,

<b>                         0
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>                         S
</b>
<b>          79.
</b>
<b>          ANOTE R ANGLE
</b>          As Tony hangs up and turns, Elizabeth is coming up
          from the bar.

<b>                         £LIZASETH
</b>          What in the hell's going on around
          here?

<b>                         TONY
</b>          Z don't know..
          Tony turns and crosses out of the lobby as we ---

<b>                         CUT TO:
</b>          INT. MAIN CABzX (STELLA MARTS) ,- NIGHT
          we are close on the pack-marked, hawk-faced Policeman
          who was present at the Police Station when Anjelica
          and Arrigo were brought in.

<b>          PCLIC°..MAN
</b>          I'm positive, Doctor 3arcenas. AS
          soon as they found the hundred
          thousand pesos in her pocket, they
          called Colonel Magudo In- T. came
          as soon as I could.

<b>                         0
</b>          We have pulled back to include Roberto Harcenas, Tony,
          Jorge and others, including the Captain of the fishing
          boat, a man named Mezcurio.

<b>                         ROBERTO
</b>          She's being questioned now?
          The Policeman nods. tRoberto turns to Tony.

<b>                         ROBERTO
</b>          You have to 'assume they'll be
          tortured. You have to assume
          that they'll talk.

<b>                         TONY
</b>          Then you're going to have to move
          right now.

<b>          ANOTL ANGL.
</b>          Jorge start: passing out weapons and hand grenades.
          Tony takes a su.?:-.machine gun and checks it, as we ---

                         

                         

                         

                         

<b>          82.
</b>
<b>          EXT. JAIL OUSE ROOF - NIGHT
</b>
          A couple of Policemen are on duty on the jailhcuse
          roof. Their names are Lopez and Ruiz. Lopez. is look-
          ing into the square.

<b>          LOPEZ'S ANGLE (THE SQUARE)
</b>          We are shooting down into the square from behind Lopez
          as Ruiz comes up and joins him. We see the two cars
          stop outside the jail, and the occupants pile out. Tony,
          Jorge, Roberto and Indio from the first car, Sorracho,
          Pepe and 'araron from the second. They are all armed,
          carrying LAW rockets and slung-sub-machine guns.

<b>                         ON RTXIZ
</b>          as he jumps up onto the parapet, cocks his own machine
          gun and fires down into the square. As his bullets
          stitch the cobblestones moving up toward the group.

<b>                         ON TONY
</b>          At the sound of Ruiz 's first shot, he's got his sub-
          machine gun in his hands. He fires from the hip.
          Lopez throws up his hands, falling back. Ruiz spins
          on the parapet and falls into the street.

<b>          =T. THE JAII.HOUSE - NIGHT
</b>          Carbajal and Mosca have started firing out of the gun
          ports in the doors.
          i M=. TEE STREET OUTSIDE THE JAIL -- NIGHT
          As Indio gets hit in the forehead and is jolted back-
          wards, his face a bloody mask, Tony, Jorge and Roberto
          have picked up their LAW's and fire almost simultaneously.

<b>          EXT. TEE JAILHOUSE - NIGHT
</b>
          as the big, heavy doors blow away ---
          INs°. ITS...-" JAILEOL;S ?II(an
          as - the second door is blown back into the roc=. The
          ceiling is caving in, piaster is falling. The ai= is
          thick with plaster dust and smoke.

<b>          (CCN'I'IVU ?,J )
</b>
                         

                         

                         

                         

<b>                         I
</b>          a3.

<b>                         CONT IU :
</b>          Mosca sits against the wall, mouth open. His leg lies
          across the room.
          The Prisoners in the holding cage are screaming. A
          Policeman runs in from another room just in time to
          be cut down by Jorge who bursts through the door
          followed by Tony and Roberto.

<b>          ANOTHER ANGLE. -- BAS = STAIRS
</b>          as Colonel Magudo runs up the basement stairs, pistol

<b>                         IN HAND:
</b>
<b>                         ANOTHER ANGLE
</b>          as Jorge, Tony and-Roberto all `ire at the same time,
          blowing Magudo back down the basement stairs. Tony
          and the others dive down the stairs.

<b>          EXT. THE CENTRAL SQUARE - NIGHT
</b>
          As the occupants of the first car are attacking the
          Jailhouse, Fa=axon, Pepe, and Borracho launch an
          0 attack on the Presidential Palace.

<b>                         ANCTBER ANGLE
</b>          A.: the sleepy Soldiers come tumbling cut of the build-
          ing in confusion, Barracho is spraying them with his
          automatic weapon while the other two are blowing the
          front doors away with their rockets. Smoke and plaster
          dust is heavy in the square. rives start to lick and
          flicker.

<b>                         ANOTHER ANGLE
</b>          As Borracho, Pepe and.Fararon run into the Presidential
          Palace, somebody has started pealing the bells of the
          Cathedral.

<b>          IY'S. THE PRESZDE. ITIA.L PALACZ - NIGHT
</b>          As Borracho, Pepe and Fararon rjn into the great
          central hall, wit:-1 its cu gyring S--a.=Case, and great
          crystal chan_delie=

                         

                         

                         

                         

<b>          84,
</b>
<b>                         CONTIYTJED :
</b>
<b>                         BORRACHO
</b>          This way.
          EEO rugs up the stairway, by the others. At the top
          of the stairs he turns, fires at the chaia that holds
          the chandelier anchored. The ceiling chews away.
          The chandelier falls with a crash of crystal.

<b>          CIIT TO,.
</b>          INT. BASMiENT (CI TRAL JAIL) - MIGHT
          There are a dozen doors leading into a dozen basement-
          cells- Tony, Jorge and Roberto are searching them.
          Tony enters a cell, then we hear:

<b>                         TONY'S VOICE
</b>          Roberto!
          As Roberto hurries into the cell

<b>          INT. THE CELL -- YIGET
</b>
          There is a gully in the ceiling with a line led. through
          it and tied off. The other end of the line is. tied
          around Arrigo's ankles, suspending hi= upside down.
          Eris hands are tied behind him. His head and shoulders
          are not visible as he is immersed, head-down in a large
          tuh of water.

<b>                         TONY
</b>          Quick!
          Roberto runs in, whips out a knife and as Tony grabs
          the motionless body, the other cuts the line.

<b>                         ANOTEFR ANGLE
</b>          As they gently lay Arrigo's body on the floor, it is
          apparent he is dead.

<b>                         CQT TO:
</b>
<b>          INT. THE BASEMENT - YIGET
</b>
          As Jorge throws open a door, his face goes white.

<b>                         FORGE
</b>          motheY of God.

                         

                         

                         

                         

<b>          85..
</b>
<b>                         CONTINDED:
</b>          We have panned over to the door. We are now shooting
          toward the door with our view mainly blocked out, but
          we can see that Anjelica is dead, naked and tied spread-
          eagled, face down on a table.

<b>                         CUT TO:
</b>
<b>          ZNT. PRESIDENTIAL PALACE - NIGHT
</b>          As Bcrracho Fararon and Pepe are rune og down an
          upstairs hallway, throwing open doors, a Soldier
          appears, fires, 3orracho spins and falls.

<b>                         ANOTHER ANGLE
</b>          As E'ararcn cuts the Soldier down, then turns to Pepe:

<b>                         R ARARON
</b>
<b>                         (IN SPANISH)
</b>          Let's get out of here!
          They turn and ran.

<b>          • CUT TO:
</b>
<b>                         S
</b>
<b>          EXT. THE JAILHOUSE AND SQUARE - NIGHT
</b>
          A couple of Police vehicles and an Army truck careen
          into the square, skid to a stop and the Soldiers and
          Policemen pile out and take cover an the square. The
          bodies of Ruiz and Indio are still, where they fall.
          At a command from the Officer in charge, the Soldiers
          and Policemen start moving forward, from cover to
          cover, laying down a steady rattle of gunfire.

<b>                         CUT TO:
</b>
<b>          MM AN ALLEY BEHIND TEE JAIL - :NIGHT
</b>          Jorge, Roberto and Tony are running along an alley
          in the darkness, bent over. One street away, in the
          town square, apparently all hell is breaking loose.
          As they run:

<b>                         FAARARON
</b>          Hey: This way.
          They stop. Fara_-cn and 2epe are standing _ in -: mouth
          of a i?.tp e n,ar-r-cw open -ig between houses

<b>                         0
</b>
                         

                         

                         

                         

<b>          86..
</b>
<b>                         ANOTHER ANGLE
</b>          as Pepe and Fararon disappear into the darkness follow-
          ed by Tony, Roberto and Jorge.

<b>                         CUT TO:
</b>
<b>          E=. ANOTHER STREET - NIGHT
</b>          A Police car with the numerals "22" painted on the
          side is abandoned at an angle in the street, the
          doors open. -

<b>                         ANOTHER ANGLE
</b>          Pepe runs up, looks in. Tony and the others follow.

<b>                         PEPE
</b>          The keys are gone!

<b>                         TONY
</b>          Get in.
          Tony is under the dashboard crossing the wires as
          the others start piling in. The motor starts, Tony
          slides behind the wheel. As they drive off ---

<b>                         CUT TO:
</b>
<b>          ZN' . POLICE CAR TAM=-TWO- NIGHT
</b>          Tony is driving. Roberto is next to him in the front
          seat. In the back are Jorge, Pepe and rararon. As
          they come to a crossroads:

<b>                         TONY
</b>          Which way?

<b>                         ROBERTO
</b>          Lett.

<b>                         (THEN)
</b>          When will the plane be coming?

<b>                         PEPE
</b>          Four. They will land at Quebrada.
          Roberto looks at his watch, then

<b>                         ROBERTO
</b>          We can make it. Left again.

<b>                         E
</b>
                         

                         

                         

                         

<b>          87.
</b>
<b>          EXT. STREET CORNER - NIGHT
</b>
          As Police Car, Number 22, comes left around the corner
          a second Police Car is coming the other way. The two
          cars barely miss each other, just kissing as they pass.

<b>          INT. POLICE..: CAR 22 - NIGHT
</b>
          The comandeered Police Car swerves as Tony fights
          the wheel, and finally steadies it.
          TONY'S POINT OF Vt!W (THROUGE BACK WINDOW)

<b>                         I
</b>          The other police car has spun and stalled momentarily.
          As the Driver of the car gets it started and straightened
          out in pursuit, we can see the Second Policeman on the
          hand mike. We can hear his excited voice in. Spanish
          coming over the police radio.

<b>                         RADIO VOICE
</b>
<b>                         TIN SPANISH)
</b>          We have seen the terrorists. They
          are in Police Car Twenty-too going
          north on Avenue of the Martyrs.

<b>                         (THEN)
</b>
<b>                         0
</b>          All units. All units. Terrorists
          seen going north on Avenue of the
          martyrs .
          Now other traffic can be heard on the Police radio as
          other Police cars respond to the message.

<b>                         SEVERAL COTS
</b>          of various Police cars as they get the message. Some
          swing around in Q-turns, Their sirens are winding up
          to a howl.

<b>          INT. POLICE CAR NITMBER 22 -- NIGHT
</b>
          We are shooting back through windshield. Pepe is look-
          ing out the back window and we see the following Police
          car. Now another joins it. Now still another. Police-
          men start firing out of their. cars. The back window is
          starred as a hole suddenly appears in it, only - inches
          from Padre ?ece' s head. He looks at the ho l e and tu.-ns,
          crossing 7:.msei f .

<b>                         PEPS
</b>          .;esus, Mary and Joseph.
          (CO N'IiNII..D )

                         

                         

                         

                         

<b>                         K
</b>
<b>                         AS
</b>          `Cis;n7VED %
          As another bullet hits the car somewhere with a clang.
          of metal, Roberto turns td Tony:

<b>                         GO-III E1 0
</b>          Go right on Quebrada.

<b>          THE I BSPE= C3ASE
</b>          as the pursuing Police cars increase their numbers and
          come closer, the-Comandeered car, carrying Tony and the
          others, makes a right- turn on Avenue Quebrada, leading
          out of town. Parked at the curb is a non-descript sedan.

<b>                         FEATURSITG TONY
</b>          As he drives, we see that Roberto has taken from his
          knapsack-pouch a mall detonating device such as we
          have seen in the demonstration of the doomsday car at
          Camp Peary.

<b>          EXT. TEE STREET CORNER - NZGRT
</b>

<b>                         0
</b>          As the first of the pursuing Police cars starts around
          the corner, suddenly the non-descript sedan parked at
          the curb detonates -- disintigrates in a blinding dazzle
          of light. In the jolt of the shock wave, every window
          within half a mile radius shatters.
          A vast ball of flame and black, heavy smoke billows
          upwards from the corner where the doomsday vehicle and
          the first car were immolated.
          Now, the following Police cars, unable to stop and
          unable to avoid the flames which have spread like
          napalm all over the whole corner, skid into the flames
          and smoke, plowing into the wreckage.
          The buildings are in flames. A Policeman, his uniform
          and hair on fire, runs screaming out of the inferno.

<b>                         DISSOLVE TO:
</b>
<b>          EX. A COUNTRY ROAD - N1 GET
</b>          as Pc?l.ce Car Nunber 22, tarns down a side road, through
          a gate, then up and over a h-4-11. We pa.-n to the gate,
          over which are the words: "° i.-sca Quebrada".

                         

                         

                         

                         

<b>                         D
</b>
<b>          89.
</b>          EXT. AIR FIELD (F=CA. QUEBRADA) - NIGHT a
          The Police Car comes to a stop at the side of what
          is apparently a hacked-out -landing strip in the middle.
          of a small valley. There is a cane field on one side,
          the green stalks are give or six feet high.
          Tony, Jorge, Roberto and Pepe get out of the car.
          Roberto opens the back door and, to Fararon.

<b>                         ROBERTO
</b>          Come on! Do- you want to ---

<b>                         ANOTHER ANGLE
</b>          Roberto has broken off as he looks at-Fararon. We
          realize that sometime during the chase the Pharoah
          has taken a bullet in the chest. Se's dying, and pink
          bubbles of blood fora and break on his lips as he
          stiizggles for breath.

<b>                         ROBERTO
</b>          I'm sorry, old friend.
          Tony crosses and gets back into the car to help
          Fararon.

<b>                         ROBERTO
</b>          I'm afraid he's finished.
          At this point we hear:

<b>                         JORGE'S VOICE
</b>          Here they come:

<b>                         ANOTHER ANGLE
</b>          as Jorge, Pepe and Roberto run to the center of the
          airstrip, looking upward. We can hear the sound of
          an approaching aircraft.

<b>                         ON MOSERTO
</b>          as he points a flashlight at the sky and signals a
          short and a long, the letter Alpha.
          AlNCTRER A0IGL.E - I:IC=1r--NG `"HE OC-6
          The aircraft is now visible. ?rcm the Pilot's coc pit
          we see the answering signal , a long and th--ee shorts,
          the letter Bravo.

                         

                         

                         

                         

<b>                         I
</b>
<b>          9Q.
</b>
<b>          PULL SECT - THE DC-6
</b>          as it swings in on the final approach and starts to
          settle in for a landing.

<b>          CUT, TO:
</b>
<b>          EXT. COUNTRY ROAD - NIGHT
</b>
          A couple of jeep loads of Soldiers turn down the
          same side road that we saw Police Car 22 take a few
          minutes earlier. As the jeep loads of Soldiers pass
          through the gate on which are the words, "Finca
          Quebrada", we ---
          Ct?T' TO:

<b>          EXT. THE A2RFT L - NIGHT
</b>
          The DC-6 lands and swings around, taxing bark. over
          the rough ground.

<b>          CLOSE - TONY
</b>          He senses something wrong, and pausing by the edge
          of the airfield, calls to the at-tars.

<b>                         0
</b>
<b>                         TONY
</b>          Wait a minute.

<b>          ON ROBERTO, PMPE AND JORGE
</b>          as they run for the plane.

<b>          ANOTHER ANGLE - ON THE PLANE
</b>          as the plane swings around again and the door opens.
          We reveal E'rankie Rizzi in the doorway.

<b>          CLOSE ON RRANRI"
</b>          as he looks out.

<b>          ON ROBERTO, P E AND J ORGE
</b>          as they ran toward. the plane.

                         

                         

                         

                         

<b>                         K
</b>
<b>                         91-
</b>          £Xfi. RIM OF THE ETT.r.
          as the two jeeps come up to the rim of the hill. One
          jeep turns a powerful spotlight onto the airfield.
          The A.IRPT T-fl - NIGHT'
          as the spotlight catches Roberto, Pepe and Jorge in
          its beam.

<b>          ON THE SOLDIERS
</b>          as they fire.

<b>          ON ROBERTO, PEPE AND JORGE
</b>          as they are chopped down, one after the other.

<b>                         OK TONY
</b>          as he turns and fires at the jeep loads of Soldiers
          with his automatic rifle.

<b>          ANQTEER ANGLE - THE SOLDIERS
</b>          as Tony's fire shatters the spotlight. Some Soldiers
          fall, others fire at the DC-6.

<b>                         THE DC-6
</b>          as it starts to pick up speed, trundling over the.
          rough ground.

<b>                         ON TONY
</b>          as he runs for the plane.
          ON ?RAl?1Z
          as he sees Tony.
          A,NoTr.. ER ANGLZ
          As Tony :'ims up -o the m lane , =rarekie reaches down,
          drags him up and in. Bu-1-let hales are apvearing
          the fuselage of the plane.

                         

                         

                         

                         

<b>          92.
</b>
<b>          ON THE SOL4IMRS
</b>          as they fire.

<b>          ON TIM DC-6
</b>          as it rises into the air and banks off to the Nor t. % ---

<b>                         CUT TO:
</b>
<b>          E,XT'. VZDAL' S PRES=ZNTIAL PALA - DAY
</b>          Armando Vidal, his face a harsh mask, stands in the
          shattered doorway of the Presidential palace looking
          off toward-the central Square..

<b>                         VIRAL
</b>          The cetinter-revolution has failed.
          The. people once more did not -rise
          up as expected.

<b>          VIRAL' S POV (THE SQUARE AN TAZLHCUSE) - DAY
</b>          In the. battle-torn square, outside the jailhouse, we
          see an angry croard of Rioters care ing the dead and
          bloody body of Roberto Barcenas.

<b>                         VIRAL
</b>
<b>                         (COMING OVER)
</b>          And once more the rich are bewilder-
          ed by the fact that the poor are un-
          I willing to die for them.
          Somebody produces a rope, somebody else throws a loop
          around his feet and Roberto is hoisted upside-down to
          the top of an ornate old lam post.

<b>          NLMADT' S VOSCZ.
</b>          And while E1 Presidente was speak-
          ing, in understandable bitterness,
          crowds in the Capitol were running
          rampant, stringing up the bodies of
          the leaders of the failed coup d'etat.

<b>                         QIM CROWZ
</b>
<b>                         T
</b>          as the people cheer. Somebody produces an American
          flag and sets it afire. it buns In the street. lids
          kick at it, 5L it on it.

<b>                          "
</b>
<b>           ,GCN'?'. .ZD?D )
</b>
<b>                          '
</b>
                         

                         

                         

                         

<b>          93.
</b>
<b>                         CONTIN= :
</b>
<b>                         NEWSMAN'S VOICE
</b>          They burned American flags and
          threatened the safety of the Amer-

<b>                         ICAN DELEGATION
</b>
<b>          EXT. AIRFIELD - DAY
</b>
          Uniformed Soldiers with fixed bayonets are guarding
          the airfield. Crowds are gathered outside the gates.

<b>                         ANOTHER ANGLE
</b>          as limousines 4ith soldiers on the ;enders and roofs
          come inching through the fist-waving, threatening mob.
          As the gates are opened, Soldiers with bayoneted
          rifles force the crowds back so that the cars can get
          through,

<b>          NEWSMA2X' S VOICZ
</b>          -- who were taken to the airfield
          under military escort.
          We see the limousines stop by a waiting transport

<b>                         I
</b>          plane, and -- with the guns of the Soldiers holding
          off the angry mob -- the American Delegation to Vidal's
          celebration hurries into the big airliner..

<b>                         CLOSER
</b>          In the American group we see Elizabeth Ann Dunne; the
          Senators McKissick and Barthalemew; Assistant Secretary
          Lucas; Speaker of the House, Cari.ock; and Stu Palmateer,
          looking cooler than he could possibly feel.- Over this

<b>                         WE HEAR:
</b>
<b>          NEWSMAN' S VOICE
</b>
<b>                         (CONTINUING)
</b>          Soldiers with bayonets were forced
          to fight off the angry mob which
          clearly blamed the United States
          for the abortive coup.

<b>                         CUT TO:
</b>
<b>          !XT. THE STATED PART!-= -- DA ;
</b>          As Are r? z?de::.ias comes out of the State Department
          and crosses to his car, he is surrounded by Newsmen.

                         

                         

                         

                         

<b>                         I
</b>
<b>          94.
</b>
<b>          CON'' I?7IIED
</b>
<b>          NEWSMAN 'S VOICE
</b>          Meanwhile in the Nation's Capitol,
          Arne Grvndellius, the Secretary of
          State, was beseiged by Newsmen as
          he left the State Depa.tent after
          an all-night session.
          CLOSER - ON GRt'YDELL tD S
          as the Newsmen are thrusting microphones into his face,
          asking questions.

<b>          FI3ST NEWSMAN
</b>          Mister Secretary! Mister Secretary!
          Can we get a statement?
          Grnndelli.us stops.
          GRIINDE,tLZUS
          We will make an official statement
          tomorrow.
          NEWS ii TOGETRER
          What about Vidal's accusations --
          Have you Xosygia's statement? will
          you speak to the United lations?
          Was Doctor Barcenas an 1nerican
          agent?

<b>          GR=EZS.ZC S
</b>          P One at a time. One at a time.

<b>          2ND NEWSMA,
</b>          According to world opinion, the
          CIA was behind this.

<b>          - GRONDELL."II5
</b>          Gentlemen: Gentlemen: I am late
          for a meeting at the White House
          i but we catagorically deny these
          allegations. The United States
          Government does not use assassin-
          ation as an iastrent of foreign
          policy.

<b>                         ANOTHSR ANGLI
</b>          AS G-=de? ii us starts to move throuch --he crowd of
          3eoorters,
          (CCNT_-6 _qT '

<b>                         0
</b>
                         

                         

                         

                         

<b>          95.
</b>
<b>                         CONTMED :
</b>
<b>                         3RD NEWSMAN
</b>          What about the rumors' that the under-
          world was involved in this?

<b>                         GRDNDELLIIIS
</b>          If the underworld was behind it
          and I don't rule out the possibility
          at all -- that fact will be brought
          to light in open hearings before a-
          special committee of Congress. It's
          in the works right this minute, and
          subpoenas will be coming out by the
          weekend.

<b>          INT. ELIZABETH'S AP T - DAY
</b>
          Tony, dressed as last we saw him at the airfield, is
          in Elizabeth's apartment watching the news on. her liv-
          ing room television set.

<b>          NEWSCASTER ° S. VOICE
</b>          And now for further reactions to
          today's developments, we take you
          to the United Nations where Sander

<b>                         VANOCUZ --
</b>          Tony has turned off the television set with a remote
          control switch, having heard the. sound of a key in
          the front door. He rises and turns as Elizabeth enters
          carrying a paper bag.

<b>                         TONY
</b>          Listen, I --
          He breaks off as Elizabeth's face goes pale with shock
          and she drops the bag on the floor. A couple of oranges
          roll across the rug as:

<b>                         TONY
</b>          I'm sorry, I had to talk to you
          She looks at him her expression almost readable as anger;

<b>                         ELIZABETH
</b>          You're listed as missing. It's on
          the wire.

<b>                         I
</b>
<b>          TONY.
</b>          Well, much as I.hate to disappoint
          everybody.

<b>                         (CONTINCRM )
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          96.
</b>
<b>                         CONT=M= :
</b>          Suddenly Elizabeth drops to her knees and starts
          crawling around on the floor, blindly searching for
          the oranges.

<b>          - ON TONY
</b>          as he locks at her for a puzzled moment, then drops
          to his own knees and taking her by the shoulders,
          straightens her. Tears are pouring down her cheeks.

<b>                         TONY
</b>          Bey, wait a minute
          He kisses her.

<b>                         TONY
</b>          What's all. this crying shit?
          She smiles, sniffles, blinks the tears out of her eyes,

<b>                         THEN:
</b>
<b>          ELZZ.A$ETE
</b>          You want an egg sandwich?

<b>                         CUT TO
</b>
<b>          INT. ELIZABETE' S EITCHEY - NIGHT
</b>
          Tony and Elizabeth are in. the kitchen having sandwiches
          and coffee as the kitchen wallphone rings. Elizabeth
          gets up and answers it.

<b>                         ELI ZABETH
</b>          Hello?
           NT. MoREHCIISE's O TI Y (LA.vGLEY) - NI zHT

<b>                         1
</b>          Stu Palmateer is at the desk. Morehouse is with him,
          reading some reports.

<b>                         PAIMATE' R
</b>          This is Captain Pa.TLrnateer. I got
          a message to call this number.

<b>                         ON ELIZABETH
</b>          as she speaks into the phane

<b>          LI2ABE:'H
</b>          Yes. Hold on for a minuts, will
          you.
          + ( ( ( to Tony??yy
           Is your call.

<b>                          (CCNT E0 )
</b>
                         

                         

                         

                         

<b>          97.
</b>
<b>                         CCNTINCTED
</b>          Tony crosses over and takes the phone.

<b>                         TONY
</b>          Stu?

<b>                         PATWMATEER
</b>          Are you all right?

<b>                         TONY
</b>          Considering.

<b>                         (THEN)
</b>          Some friends of mine flew me up
          to Maryland this morning. I thought
          maybe I'd better not go directly
          home.

<b>                         PALMATEER
</b>          Good.

<b>                         TONY
</b>          How are you?

<b>          PAL?`SATEYR
</b>          Ten kinds of blue hell are breaking
          loose out here. Are you all right
          at that number till tomorrow?

<b>                         TONY
</b>          Fes.

<b>          PAL.MATEER
</b>          Then I' 11 get back to you.
          Click, as Palmateer hangs up. Tony t•.irns to Elizabeth.

<b>                         TONY
</b>          I hope you don't mind a house guest.

<b>                         0 CU TO:
</b>
<b>          I INT. AN AUDITQRIGM (NEST ORLEANS) - NIGH
</b>
           We are an a cheering audience of Longshoremen.
           ANOi= AN= 1:,i.iii S2EA2=' S ?LA -'- Qi M
           Danny'DeVito is holding up his hands to the crowd.
           Behind him., red, white and blue bunti.^g. ?oste.zs
           reading: 1 OTT YOR i=TO -- Gi V' Tom: CYZON . ACX
           To : E VMSBERSHZP" .

                         

                         

                         

                         

<b>          98.
</b>
<b>          EXT. AUDITORIIIM -- NIGH':'
</b>
          As Danny DeVito comes out of the stage door of the
          auditorium, Ralph Augusta comes up to him.

<b>                         AUGUSTO
</b>          Sam wants to see you.

<b>                         DEVITO
</b>          I'= at the Pcnchartrain.
          Ralph takes Danny by the arm and moves him toward a
          chauffeured limousine waiting at the curb. As he does

<b>                         SO :
</b>
<b>                         AUGUSTO
</b>          Now. Tonight. He's got an idea
          how to get everybody off the hook.
          As.Augusto opens the door and ushers Danny into the
          back seat of the car, we ----

<b>                         CUT TO:
</b>
<b>           MCT. BOURBON STREET MEW ORLEANS) - NIGHT
</b>          0 As the limousine moves dawn Bourbon Street with its
          hockey tonks and jazz joints.

<b>          INT. THE LZIMOUS INE - NIGHT
</b>
          As they drive down Bourbon Street, Augusta leans for-

<b>                         I
</b>          ward to the Chauffeur.

<b>                         AUGUSTO
</b>          We'll go in the back way.

<b>                         CHAUFF EM
</b>          I Yes Sir.
          The Chauffeur turns down a side street and up an alley.

<b>          E=. TEE ALLET -- NIGHT
</b>          A truck is blocking the alley. A big, cheerful-Looking
          Laborer with a ;knit cap on his head, is sitting on a
           big barrel by th rear of t h t= ck.
          h T e Eli cusine pu e l ls ap be fer hi ? n d e 1 s the 2 trac /+ k, s c y/?Yy?? toys a :'+t^i /? i a
           inside a nearby cltth we hear a Jazz t=,=zet on a long
           ride.

                         

                         

                         

                         

<b>                         ??T
</b>
<b>          99.
</b>          MT. THE LnKOII&amp;INE
          as Augusta leans forward.

<b>                         AUGIISTO
</b>          Give him the horn.
          The Chauffeur honks the horn. The Laborer grins over
          at the limousine, gestures, palms up.

<b>                         AUGUSTO
</b>          So we walk. It's not far.

<b>                         ANOTHER ANGLE
</b>          as Augusta, Danny Devito and the Chauffeur move up
          toward the rear of the truck, the Laborer jumps down
          off the big barrel he's been sitting on.

<b>                         LABORER
</b>          Hello Danny.
          At this point the Chauffeur wheels and grabs Devito
          in an arm lock, with one gloved hand clamped over his
          mouth.

<b>                         ON ABGUSTO
</b>          as a knife suddenly glitters in his hand and he plunges
          it into Devito. Danny is kic-ting and st-aggling.

<b>                         ACWSTO
</b>          Hold the cocksucker still..
          As Augusta plunges the knife into Danny again and
          again and again.
          AN WAVZ"11 r?Nf:I.E
          The Laborer has taken the lid of, the barrel. Danny
          sinks to the pavement, convulses and dies.

<b>                         ANCTEER ANGLE
</b>          as the three men pick up Devito`s body, stuff him
          into the barrel, then hoist the barrel into the back
          of the truck.
          The jazz tr ttpet is sti l playing, as we --

<b>                         CTT IRA
</b>
                         

                         

                         

                         

<b>                         K
</b>
<b>          100.
</b>
<b>          =NT. ELIZABETH'S BEDROOM - DAY
</b>          It is the folloaring morning. Tony is in bed, asleep.
          Elizabeth enters, turns on the bedroom TV set and
          these crosses and shakes Tony. Tony comes awake fast.

<b>                         TONY
</b>          Wha_ is it?

<b>                         ELIZABETH
</b>          Your friend, DeVito ---
          The TV` set has warmed up and now the Newscaster's voice
          comes over the pict'..ire of a middle-class house in
          Bayonne, New Jersey.

<b>                         NEWS CASTER
</b>          There have been no ransom demands
          and the Devito family -- although
          concerned -- are not yet alarmed.

<b>                         (THEN)
</b>          Police have stationed a guard on
          the ex-union Leader's Bayonne, New
          Jersey home were his 'rife and groom
          daughter are in seclusion. Informed
          sources fear an eruption of mob
          violence if the popular Labor Leader
          has met with foul play.

<b>                         I
</b>
<b>                         ANOTHER ANGLE
</b>          As the Television Newscaster switches to another item,
          we see a burning house, fire engines, so on.

<b>                         NEWSCASTER
</b>          Long Beach, New York. In a possibly
          related incident, the home of re-
          puted Syndicate figure Santsno
          Corleone was firebombed early this
          morning. Corleone, thirty-five, is
          in guarded condition at Saint
          Catherine's hospital with first
          } degree burns over two thirds of his ---
           Tony is out of bed. Be has switched off the TV set
           and crossed to the phone.

<b>                          TONY
</b>           Long distance =;fc_aa,ion, please.
           h T e number of the Ve?as ?alms ---

<b>           C , D TO:
</b>
                         

                         

                         

                         

<b>                         ??3
</b>
<b>          EXT. LAS VEGAS AIRPORT - MIGHT
</b>
          It is early evening of the same day.

<b>          INT. LAS VEGAS AIRPORT - VIGET
</b>
          as Tony comes out into the central area of the Vegas
          Airport. He pauses, looks around.

<b>                         ANOTHER ANGLE
</b>          as Rocco Lampcne crosses up to him.

<b>                         ?? LAMPONE
</b>          Let's go.

<b>                         ANOTEER AUG=
</b>          as Tony follows Lampone.

<b>          EXT. LAS VEGAS AIRPORT - NIGHT
</b>
          as a big car driven by a Button an named Fritz pu.Us
          up. Rocco opens the door to the backseat, gestures
          Tony in. As Tony gets in ---

<b>                         ON ROCCO
</b>          I He looks around. There is a car full of Button Men
          in front of them. Another car full of button men
          behind. Rocco nods. Gets a nod back &gt;rom each driver.

<b>          INT. CAR - D1=GET
</b>
          As Tony gets into the backseat, we see that Tom Hagen
          is there. Rocco Lampone now gets into the front seat
          alongside the driver, Fritz.

<b>          A L MP ORE.
</b>          Tony, this is Fritz.

<b>                         (THEN)
</b>          Let's move.

<b>          ?NOT= AIGI2
</b>           as the cars drive out om! the ai Ci .. a 1 e, 2Eagef' S
          car in the middle.

                         

                         

                         

                         

<b>                         I
</b>
<b>          102.
</b>
<b>          INT. HAGEN `S CAR
</b>
          as Hagen turns to. Tony.

<b>                         - SAGR'??1
</b>          Danny's dead. They found him in
          a barrel at the mouth of the
          Mississippi.

<b>                         TONY
</b>          Maatrocina?

<b>                         HAGEN
</b>
<b>                         (NODS }
</b>          It's going to be bad for a while,
          that`s wby I wanted you out here.
          It's time you-Jesus Christ Fritz
          This last as another car swings out of a side street
          and a Hood leans out of the rear window with a t•.reLve
          gauge p=p gun, and blasts at Fritz.

<b>          ON RAG-EN'S CAR
</b>          as a blast of heavy shot takes out the windshield
          and blows most of Fritz's head away.
          ' : NT. SAGrzN ' S CAR
          As a fountain of blood gushes up from the stalk of
          Fritz's neck and Hagen's car starts to swerve into
          the curbing, the Gunman in the other car sends two
          more blasts of deer--load into Hagen's car.

<b>                         ANOTHER ANGLE
</b>          as the Corleone Button Men in the following car blasts
          at the attackers, the Shotgun Man blasts away.

<b>          I ANOTT ER ANG=
</b>          as Hagen is hit by half a dozen buckshot and he flaps
          over dead, onto Tony. The caw hits and tolls.

<b>                         ANOTSER ANGLE
</b>          The Hagen car comes to a s tor on its wheels again.
          The Corleone Butt-an Men it the fol icwinc ca= -snt?
          cut, run up.

<b>                         0
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          103.
</b>
<b>                         CLOSER
</b>          As Rocco Lampone comes out of the wreckage, the Button
          men are pulling Tony -- who is unconscious -- out.
          Lampone looks at Fritz and Hagen.

<b>                         LONE
</b>          Not a goddamned thug you can do
          for them. Let's get out of here.

<b>                         ANOTBER ANGLE :
</b>          As The Corleone Men carry Tony to the other ca= and
          get him inside, people are starting to gather.

<b>                         LAMPONE
</b>          It's all right. It's all right.
          Gangway. We're getting him to
          the hospital! Man's hurt here!
          Clear the road:.
          As the Bystanders move back, the Corleone car burns
          rubber and digs out

<b>                         CQT TO:
</b>          MT. BEDROOM (CORLEONE COMPOIINf, TAHOE) - NIGTT
          Camera is subjective, the screen is pitch black with
          a single red-orange dot moving erratically in the
          center. It is the coal of a cigarette as someone
          takes a last puff, tamps it out, then scratches a
          match and. lights another.
          In the flare of the match we see a Nurse's bulldog
          face.

<b>          ANOTHER ANGLE - INCLC1 ING TONY
</b>          He wears a bandage around his head like a burban. Be
          is looking at the Nurse in the flicker of the match
          flame.

<b>                         TONY
</b>          Who are you?

<b>                         XURSE
</b>          OY., gc?od, you're awake.

<b>                         TC Y
</b>          Wait a minute.

<b>                         S
</b>          t CfJI3'?'LD }

                         

                         

                         

                         

<b>                         A
</b>
<b>          104.
</b>
<b>                         CONTD DZD :
</b>
<b>                         NU'RSZ
</b>          I'll be right back.
          The nurse has risen. She switches on a lamp and
          exits.
          ANOThR ANGLE (MIRROR SHOT)
          We are angled into a mirror over a chest of drawers,
          holding on Tony as he sits up in bed, then gingerly
          gets to his feet. He is wearing silk pajamas. Now
          he crosses to the mirror and checks himself out.
          Aside from the bandage he seems to be in one -piece.
          Now, in the mirror we see the door open and silhou-
          etted in the doorway, the figure of Michael. Tony
          turns.
          ANOTffER ANGL -
          as Tony and Michael look at one another for. a long
          moment.

<b>                         HICEAEL
</b>          How are you feeling?

<b>                         S TONY
</b>          What am I doing here?
          As Michael comes into the room and closes the door:

<b>                         HICEAEL
</b>          I had Rocco bring you.

<b>                         (THEN)
</b>          How's the head? A little -pain?

<b>                         TONY
</b>          A little.

<b>                         MICHAEL
</b>          The Doctor says it's nothing.to
          bother you, but I've always found
          it's easier to be brave about some-
          body else's headache.

<b>                         TONY
</b>          Did he say how soon T could leave?

<b>                         MIC'Z??
</b>          Sit dcwn. Sim down..

<b>                         S
</b>
                         

                         

                         

                         

<b>                         ANO'TEMR ANGLE
</b>          Tony doesn't sit down.

<b>                         TONY
</b>          r'd like to get out of here as soon
          as possible.

<b>                         MICHAEL
</b>          Let me ask you a question. Have
          you any idea where you stand?

<b>                         TONY
</b>          I'm not totally stupid.

<b>                         MICHAEL
</b>          I aC 't think you're stupid. I
          think you're smart. 3 t not smart
          enough.

<b>                         TONY
</b>          t'n willing to learn.

<b>                         MICHAEL
</b>          Good.

<b>                         (THEN)
</b>          You've let your enemies get too
          close to you.

<b>                         (THEN)
</b>          Those people who tried to kill you
          in Las Vegas, they were Maatrocina's
          people.

<b>                         TONY
</b>          Are 'you sure?
          Michael answers that question with a look: Of course
          in sure.

<b>          MICHAZZ,
</b>          The question to ask is this: Who
          knew you were flying to Las Vegas?-

<b>                         TONY
</b>          The girl I was staying with and ---
          Tony breaks off:

<b>                         HICI=L
</b>          Someone f_ cm Langley?

<b>                         TONY
</b>          Before I left, I called a man named
          Stuart ?almateer.
          (CONY r ED)

                         

                         

                         

                         

<b>          106.
</b>
<b>                         CONTINOEA
</b>
<b>                         MICHAEL
</b>          I told Tom Hagen -- God rest his
          soul --- but I warned him. it was a.
          mistake -- that whole Vidal business.
          As the only contact between our people
          and the Government you had no protec-
          tion. You were naked.

<b>                         (THEN)
</b>          It they want to break the contact,
          they elimirate you and they're clean.
          As long as you're alive,. you're a
          threat -- do you understand?

<b>                         ANOTHER ANGLE
</b>          As Tony sits. He's not sure whether he likes or
          trusts or is ready to forgive his father, but he
          knows the sound of good sense when he hears it.

<b>                         MICHAEL
</b>          How long do you think the-Administra-
          tion would last if it were to come
          out that the President used the
          Corleone family to assassinate the
          head of a foreign state.

<b>                         0 (THEN)
</b>          The question is rhetorical.

<b>                         ANOTHER ANGLE
</b>          Michael takes out a cigar and goes about the ceremony
          of lighting it.

<b>                         - MICHAEL
</b>          I'm not supposed to smoke these
          things, but it, isn't every day
          a man's son comes home.

<b>                         TONY
</b>          You were saying?

<b>                         XICHAEL
</b>          Every year- -- on February third --
          I've sent you a check. Those ohecks
          were never cashed

<b>                         TCNY
</b>          Would you like to '.cacw why?

                         

                         

                         

                         

<b>          107.
</b>
<b>                         CONTINUED:
</b>
<b>                         MICHAEL
</b>          r've always know why -- and z res-
          pect your reasons. But, neverthe-
          less, I'm your lather and anything
          t have is yours - if it's money you
          want, my friendship, the benefit of
          my experience -- if you'll accept it.
          It's yours.

<b>                         TONY
</b>          I I need your advice.

<b>                         MICHAEL
</b>          (nods, then)
          There are two ways I see to handle
          this. First, I can make you dis-
          appear in. Sicily until everything
          blows over. Things change. Men get
          old and angers cool. In four or
          five years you could probably be
          safe to come home again..

<b>                         TONY
</b>          What's the other way?

<b>                         1
</b>
<b>          MICE?
</b>          0 The other way is a gamble that you
          could lose.

<b>                         (THEN)
</b>          And it would mean becoming a part
          of the family -- for a while anyway.
          Tony is just looking at Michael.

<b>                         MICHAEL
</b>          Think about it. Sleep on it.
          We'll talk again in the morning.

<b>          I=. THE BOATHOUSE (CORLEONE COMPOUND) - DAE
</b>          Tony enters the glassed-in boathouse. Outside, cold
          white winter and the deep, blue Lake. With hi= is a
          Sezv'ant..

<b>                         SERVANT
</b>          Your father will be out in a moment.

<b>                         (INDICATES)
</b>          There's coffee on the sideboard.
          Tony tads. The Ser-want exits. 'ror.?y crosses to the
          sideboard, pours a cup of coffee. As he t:uzmns with
          it, his eyes fall on a table in the corner on which
          (CCdN V E )

                         

                         

                         

                         

<b>                         I
</b>
<b>          108.
</b>
<b>                         CONT??IUED :
</b>          are many Pictures, mostly in heavy silver frames.
          Some are studio portraits. Some are grainy blow-ups
          of snapshots. Tony crosses to the table of pictures.

<b>          VERY CLOSE - THE PICTURES
</b>          As Tony looks, we are moving from picture to picture.
          The first is a wedding portrait taken on Connie's
          wedding day. Carlo is kissing the Bride. The God-
          father stands, proud and uncom.fortable in his tuxedo.
          Michael in his uniform. The twins, - all heavy eyebrows
          and baby fat.
          '"here is a picture of Sonny with his fists up and
          laughing as if about to hit someone.
          There is a photograph of the three brothers, Sonny,
          Michael and 'redo, their arms around each other, at
          an outing someplace. Sonny is in the middle of a
          big grin. Fredo looks shy and scared. Michael is
          staring straight ahead, a boyish smile on h 1s face
          although his eyes are cold.
          There is a picture of Michael and Ray at Tony's con-
          firmation.

<b>                         0
</b>          There is a blown-up snapshot of the Godfather in his
          tomato garden in the backyard..

<b>                         ON TONY
</b>          as he picks up the picture of the Godfather, remem-

<b>                         BERING ---
</b>
<b>                         DISSOLVE TO:
</b>
<b>          A FLLASHBACE SEQUENCE - {FROM GODFATHER I)
</b>          The old Don is tending his tomato vines. With him
          is the little boy, Tony. aged three or four. They
          have the special rapport that sometimes exists be-
          tween the old and the very youzg. They play teasing
          games with paper fangs and the bug spray can, then
          suddenly, the old man's heart ;ailed him, and he falls
          i n to the tomato vines. After a moment the lit :le boy
          understands that the old man is no l anger playing a
          game, and he beomes frightened:

<b>                         CUT TO:
</b>
                         

                         

                         

                         

<b>                         L
</b>
<b>          LOS.
</b>          INT. TifE BOATHOIISZ•- DAY
          We are on the door as Michael enters. He pauses for
          a moment, then:

<b>          MICHAEL ' .
</b>          Do you remember your grandfather?

<b>                         ANOTHER ANC
</b>          as Tony turns from the table full of pictures with his
          grandfather's framed portrait still in his hand.

<b>                         TONY
</b>          Yes..
          As Tony puts down the picture, Michael comes up.

<b>                         1SICEAEL
</b>          Do you remember him with admira-
          tion and respect?

<b>                         TONY
</b>          Z remember that I loved him.

<b>                         MILBAEL
</b>          0 So did I.

<b>                         TONY
</b>          I've been thinking about these
          choices.
          Michael holds up his hand to delay the decision.

<b>                         141C RAM
</b>          Talk with me for a moment.

<b>                         (THEN)
</b>          Let me learn something about my
          son.. What's Trident Scholar?

<b>                         TONY
</b>          It's a special honors program for
          First Classmen.

<b>                         MIC3AEL
</b>          You liked Annapolis?

<b>                         _ONY
</b>          Yes.

<b>                         AICZAEL
</b>          Enough to make a life in t e Navy?

<b>                         (CONT"-RLGCZD)
</b>
                         

                         

                         

                         

<b>                         ??I
</b>
<b>                         ILA
</b>
<b>                         CONTINUED
</b>
<b>                         TONY
</b>          No. Not that much.

<b>                         MICHAEL
</b>          2 was surprised you didn't go to
          Dartmouth.

<b>                         TONY
</b>          I thought about it, but Kay wanted
          me to go to Annapolis and the price
          was right.

<b>                         MICHAEL
</b>          How's Hanover these days?

<b>                         TONY
</b>          About the same.

<b>                         MICHAEL
</b>          I always liked that town. That' S
          where Z met your mother -- when I
          was going to school up there.

<b>                         TONY
</b>          I know.

<b>                         0 MICHAEL
</b>          I'd planned to live there, you know.
          Teach maybe -- or go into law. A.
          little office on Wheelock Street.
          Deeds and wills. I would have liked
          that.

<b>                         TONY
</b>          Why didn't you do it?

<b>                         MICHAEL
</b>          Because one day a Sicilian pimp
          and dope peddlar named Virgil
          Solla2 O tried to assassinate my
          father -- your grandfather -- and
          I had to do something about it.

<b>                         (THEN)
</b>          It was a mistake. S took a road.
          The wrong road for me. It ended
          here.

<b>                         TONY
</b>          is this so bad? Sa
          don't know. it depends or. what
          you call terrib? e . You have to

<b>                         CCDN'TINV D)
</b>
                         

                         

                         

                         

<b>                         CONTINUED:
</b>          MICHAEL (cant 'd)
          live a certain way --- a cold way -
          or you won't live long.

<b>                         (THEN)
</b>          Do you remember your uncle credo?

<b>                         TONY
</b>
<b>                         (SMILES)
</b>          ?redo, the fisherman. Yes. I'll
          always remember, he had a secret
          way to catch fish. 'He taught me.
          You say a Hail. Mary' before you
          put the line down. It never fails.

<b>                         MICHAEL
</b>          You know what happened to ?'redo?

<b>                         TONY
</b>          He died didn't he?

<b>                         MIS
</b>          I had him killed. My own brother.
          It was something r had to do -- or
          felt I had to.

<b>                         TONY
</b>          Why?

<b>                         MICHAEL
</b>          He went against the family. So I
          waited until our mother died and
          then I --
          (breaks off ,

<b>                         THEN)
</b>          Not too many people are fitted for
          this kind of a life. I've had to
          do mazy hard things, but sending
          you and your sister away -- that
          was the hardest.

<b>                         ANOTHER ANGLE
</b>          There is a beat. To= and his father look at each
          other and for a moment we feel that Tony is going
          to cross to his father, then the moment passes:

<b>                         MYC""L
</b>          And now, that I've said t~ at, I'd
          like to hear your decision.

<b>                         ' :CN'Y
</b>          I don't th.iL k I'd ? ike Sicil v

<b>                         (CON'R 1MED )
</b>
                         

                         

                         

                         

<b>          112.
</b>
<b>                         CONTINOED:
</b>
<b>                         MICHAEL
</b>          Good.

<b>                         (THEN)
</b>          Come sit with me. Time is short
          and I have a lot to tell you.

<b>                         CUT TO:
</b>          t N T. CIA BUILDING (LOBBY) - DAY
          As Tony, in civilian clothes, passes through the
          inner- checkpoint with his legitimate credentials.

<b>                         CUT TO:
</b>
<b>          ZNT. MOREHOUSE'S OFFICE - DAY
</b>          Morehouse and Palmateer are in the office. Their atti-
          tudes are. less than cordial as Tony enters.

<b>                         MOREHOUSE
</b>          Come in Adams, sit down. I've
          called Stu in on this --

<b>                         (GLANCES AT
</b>
<b>                         WATCH)
</b>          Though I'm afraid I can't give
          you much time. I've got a brief-
          ing with the Z-orty Committee at
          noon.

<b>                         TONY
</b>          what I have to say won't take long.

<b>                         (THEN)
</b>          And I think we 111 all be happier
          if it's not on tape.
          Morehouse pauses a moment then openens a drawer and
          switches ofd his tape machine.

<b>                         MOREHOUSE
</b>          Sow's your health? I understand
          you got a crack on the head?

<b>                         TONY
</b>          I'm fine now.

<b>                         MOREBOUSE
</b>          you were up at your father's place
          in Tahoe?
          T::at d s rig

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          113.
</b>
<b>                         CONTINUED :
</b>
<b>                         MOREHOUSE
</b>          Has he changed much?

<b>                         TONY
</b>          Not as much as I' d. expected.

<b>                         MO 2 CUSZ
</b>          I remember him very well -- from
          the Senate hearings on crime. Heat
          little man. Very polite, spoke in
          a soft, reasonable voice. He sat
          there with two million dollars worth
          of legal talent at his elbow and told
          the United States Government to go
          piss up a rope.

<b>                         (SMILES)
</b>          You had to admire the pretentious
          little bastard.

<b>                         TONY
</b>          We're wasting each other's time
          with this, Mister Morehouse.

<b>          ' M OREHOUSE
</b>          All right, Son. This is your party.
          You've got five minutes.

<b>                         0 (THEN)
</b>          But before we start, I'm not going
          to listen to a lot of recriminations
          about that cveration. Your people
          blew it, pure and sim le. It was
          totally mishandled. A mistake from
          beginning to end.

<b>                         TONY
</b>          The big mistake was that I'm still
          alive.

<b>                         `SOREROUSE
</b>          Come again?

<b>                         TONY
</b>          11 you'd managed to get rid of me
          down there - or in Vegas -- you' d
          be all right. silt it's too Late
          now. You've lost your chance.

<b>                         HOREZOUSE
</b>          I don't know what the hell you're
          talking about.
          (C 0 di': I?It )

                         

                         

                         

                         

<b>                         I
</b>
<b>          .7
</b>
<b>          114.
</b>
<b>                         CONTINU
</b>
<b>                         TONY
</b>          If anything should happen to me --
          anything at all -- you can find out.
          The full story will be all over the
          six o'clock news.

<b>                         MOREHCQSE
</b>          I'd like to hear your conception of
          the full story..

<b>                         TONY
</b>          You were running a no-lose operation.
          if we succeeded, you were rid of
          Vidal. -- if we failed, the Corleone
          family was set up to take the blame.
          Your hands were clean. I was the
          only one who could dispute your
          story and I wasn't supposed to come
          back. I've found out that my res-
          ignation from the Navy was processed
          and accepted a full week before I
          went down here ---

<b>                         MOPEEOUSE
</b>          Stu?

<b>                         PALMATE=
</b>          Well, yes, Sir. His resignation did

<b>                         E
</b>          go through, but it was a snafu -- a
          Yeoman's mistake, that's all.

<b>                         MOREHOUSE
</b>          A clerical error.

<b>                         TONY
</b>          And I don't buy it.

<b>                         MOREBOUSE
</b>          don't give a shit if you buy it
          or not. And I'll tell you some-
          thing else, Mister Adams, or what-
          ever your fucking name is, I don't
          react favorably to blackmail.

<b>                         TONY
</b>          It's not blackmail. It's a simple
          statement of fact. If anything
          happens to me or if the Corleone
          Family is damaged iz these Senate
          Hearings, then the whistle blows
          and the whole zdmin .st_ation aces.

                         

                         

                         

                         

<b>                         7
</b>
<b>          (CONTINUED) ?
</b>
<b>                         MOREHOUSE
</b>          And what makes you think T. give a
          shit about what happens to the Admin-
          istration?
          Morehouse grins without humor. Tony's eyes flicker.
          Morehouse has told something that Tony needed to know.
          Morehouse is up and coming around the desk, as he
          continues. _

<b>                         _14ORE8OVSE
</b>          Whatever I did was done under dix-
          ect orders from the President of
          the United States, and I. will. so
          testify in open hearing. if that
          upsets some of you= guinea gumbarrs
          in Nevada, then so be it. The days
          are over when your father and his
          like could corrupt and intimidate
          this Nation.

<b>                         TONY
</b>          No. You've taken over the job.

<b>                         MORE&amp;OUSE
</b>          Your five minutes are up -- now get
          the hell out of here.
          As Tony turns and goes, Morehouse glares after him,
          the glint of victory in his eyes.

<b>                         CST TO:
</b>
<b>          INT. SENATE BU=DING - FOYER - DAY
</b>
          We axe outside the huge Senate Caucus room. The
          double doors are open and inside we can see the
          preparations for the Hearing. The Senators are
          taking their seats -- the Press is being given the
          Press hand-out (stamped: "Embargoed until Witness
          Testifies"). Technicians are carrying cables for
          the TV cameras and lights past Lawyers and Committee
          Staff Members.
          Planted In front of all this, speaking to a TV camera,
          is Elizabeth Ann Dunne.

<b>                         ELIZABETH
</b>          This is Elizabeth Ann Dunne coming
          to you from outside, the. Senate. Caucus
          Room where the Senate Select Co=i.--tee
          on Intelligence is meeting this morn--
          ing ..,...

<b>                         (THEN)
</b>          Oh, Senator)
          (CaNTI_ TU?:D )

                         

                         

                         

                         

<b>                         I
</b>
<b>                         I
</b>
<b>          L16.
</b>          This last to the polished Senator Barthalemew of
          Pennsylvania who pauses in front of the camera.

<b>                         ELIZABET3
</b>          This is Senator Paul Barthalemew
          Of Pennsylvania who will chair the
          Committee.

<b>                         (THEN)
</b>          Can you tell us the specific purpose
          of this Committee, Senator?
          This Committee has been mandated
          to address two questiocis: One, did
          the United States Government -- or
          any of its officials --- authorize,
          instigate or in any way-abet a plot
          to assassinate the Head of a friendly
          foreign State, Armando Vidal.

<b>                         (THEN)
</b>          And Two, if not -- who did?

<b>                         ELZZA3ETFF
</b>          Thank you, Senator.

<b>                         0
</b>          As Barthalazaew moves into the Caucus Room, shaking his
          head, we ----

<b>                         CIIT TO:
</b>          ZNT. SE35MTw CAUCUS ROOM - DAY
          Barthalemew is. pounding his gavel for order.

<b>                         HARTHALE EW
</b>          Take your seats, please. Sergeant
          at Arms' Will. you see that every-
          an takes his seat?
          We pan over to the door as Tony enters and finds a
          seat.

<b>                         CUT TO:
</b>
<b>          EXT. A WOODED AREA (PCMPTON LA=S, NNW SBRSEY) - DAY
</b>
          Ralph •Augusto, bare to the waist, is half way up a
          hill, in a stand of trees, working with an ax. Se
          has stripped off his shirt and his coat. is shirt
          and his gun are placed aver a fallen t=ee, ten yards
          away.

                         

                         

                         

                         

<b>          117.
</b>
<b>                         ANCTHER ANGLE
</b>          as Prankie Rizzi and Rocco Lampone are coming up the
          hill toward Augusto. They pause:

<b>                         LAMPONE
</b>          Hey Ralph?
          Augusta torus. His eyes flicker to the gun, then
          back to Rocco and Frankie. He smiles warmly:

<b>                         AGSTO
</b>          Hey Rocky. Whaddya say? Waddya
          doin' up here?

<b>          ? R A N =
</b>          We just came up to say goodbye,
          Ralph.

<b>          L?JWONE
</b>          for Neri and DeVito.
          Frankie and Lampone have spoken almost simultaneously,
          and as they speak, their guns are out and blasting.
          ANCTHwR ANGLE - ON AaGt7STO

<b>                         10
</b>          As the bullets thwack into his body. he jerks, but
          doesn't go down. His cold face twists in fury as
          he is moving down toward Tony, raising the ax.

<b>          ON FRANI(TZ
</b>          as he stands his ground, blasting. Twice. 171A%ree
          times. Four times.

<b>                         ANOTBER ANGLE
</b>          as Augusta wavers, his face goes slack and he plunges
          into the ground at F'rankie' s feet. The ax has fallen
          from his hands.

<b>                         CUT TO:
</b>          IN'r . S MIATE CAUCUS ROOM - OAT
          ?Among the Senators an the Committee, we recognize
          Mc:tissick and mossib? y we w i-11. remember old Geary,
          from Nevada. Tonv is an interested spectator as
          3artha? amew,r quest ions the witness, Martin Davideau.

<b>                         0
</b>
                         

                         

                         

                         

<b>                         I
</b>          CUNT t3ED

<b>                         3ARTKALZ W
</b>          And.'what light can you throw on
          this matter, Mister Davideau?

<b>                         DAVIDEAII
</b>          S have. a memo here from the Director
          of the FBI to the Director of the CIA
          with copies to the Army, Air Force,
          Navy and State Department Intelligence
          Offices. It states that one of our
          informants -- well, I' l1 read it (ro

<b>                         ADS)
</b>          'during. a recent conversation with
          several friends, underworld figure
          Sam Maatrocina, stated that there
          was going to be an attempt on Armando
          Vidal' s life and this attempt ---
          this hit, in the argot -- was to
          be carried out by another underworld

<b>                         FAMILY
</b>
<b>                         MC RISSICX
</b>          Did this informant identify the other
          underworld family?

<b>                         DAVIDEAU
</b>          0 so Sir, he did not.

<b>                         MC KISSICX
</b>          Would you care to speculate,

<b>                         GEARY
</b>          Just a minute, Senator -- I whole-
          heartedly object to this Committee
          being used as a for,= for spec-
          ulation based on an anonymous report
          of an alleged conversation. Reput-
          tations. could be recklessly and i --e-
          grievably damaged.

<b>                         MC RISSICR
</b>          Very well, very well. We wouldn't
          want to damage any of the constituency
          of my esteemed Collegue from Nevada. --

<b>                         GEARY
</b>          Many thanks to the distinguished Sv..nior
          Senator from our Wes tern Sister State
          of Utah.

<b>          C7T TC :
</b>
                         

                         

                         

                         

<b>                         I
</b>
<b>          119.
</b>          n ?T. MAATROCINA' S OFFICE (NEW YORK CITY) - DAY _
          Sam Maatrccina is seated in his office on the thirty-
          third,floor of an old downtown Manhattan office build-
          ing. The buzzer sounds.

<b>                         MAATROCINA
</b>          Yes?

<b>                         SECRETARY'S VOICE
</b>          A couple of gentlemen here from the
          Internal Revenue, Mister Maatrocina.

<b>                         MAATRCCIVA
</b>
<b>                         (SCOWLS)
</b>          The Internal Revenue!?

<b>                         SECRETARY
</b>          Yes sir.

<b>                         MAATROCINA
</b>          All right. Send 'em in.

<b>                         ANOTEER AN=
</b>          The door buzzes open and. two young,- rather conserva-
          tive looking Men, enter with briefcases.

<b>          I FIRST MAN
</b>          Mister Maatrocina?
          Maatrocina is coming around the desk:

<b>                         MAATROCI:YA
</b>          What- is this? Some kind of a roust?

<b>                         FIRST MAN
</b>          It's about your income tax, Sir.

<b>                         MAATROCITA
</b>          My taxes are handled by the biggest
          firm of accountants in New York City.
          It costs me a hundred thousand doll-
          ars a year and you two assholes in
          cheap- suits are going to come in here

<b>                         AND
</b>          Sam Maatroci.na breaks off. The Second Young man has
          hit him an open-handed karate chop on the side of
          the neck. Now, before Maatroctna can speak or cry
          cut, the Aan has hit :taatrocina a seccad chop, shat-
          ter .ag his adams apple.

                         

                         

                         

                         

<b>                         I
</b>
<b>          120.
</b>
<b>                         ANOTHER ANGLE
</b>          As Maatrocina goes to his knees, his eyes goggling,
          the First Young Man has crosses to the window and
          opened it.
          Now he and the Second Young Man carry the wide-eyed
          New York Don to the window and throw him out.

<b>                         CUT T0:
</b>
<b>          EXT. D0WNTG"N MAAJBATZAN STREET - DAY
</b>
          as crowds are gathering around the body of Maatrocina
          on the sidewalk, the Two Men come out of the building,
          cross the street and go around the corner.. In the
          distance, sound of approaching sirens.

<b>          EXT. TEE CORNER - DAY
</b>
          as the Two Men come around the corner and get into a
          waiting car. Driving the car is Frankie Rizzi. As
          they drive off, we ---

<b>                         CDT TO:
</b>
<b>          LYT. SENATE CAUCUS. ROOM - DAY
</b>          it is late afternoon. A Uitness, General Vanderhorst,
          the Director of the CIA, is at the table. Geary is
          quizzing him.

<b>                         GEARY
</b>          No. No. What I'm trying to get
          from you, General, is, as Director
          of the Central Zntelligence Agency,
          did you ever have any kind of order
          in writing authorizing you to assass-
          inate the head of a foreign state?

<b>                         VANDERHORST
</b>          No, Sir. Z did not.

<b>                         MC XISSICX
</b>          Well, come on now.. That's hardly
          the thing that would be put in
          writing, now is it?

<b>                         EXRY
</b>          Well what would it be put n 44
          aol writ=q?

                         

                         

                         

                         

<b>                         I
</b>
<b>          121.
</b>
<b>                         CONTIII=
</b>
<b>                         MC KISSICX
</b>          X suggest that it would be put into
          the same kind of phraseology that
          Henry used to his Barons when he
          said, 'Will, no one rid me of this
          turbulent priest?' He didn't tell
          them to go kill Thomas --z6 Beckett.,
          but the final result of it was
          murder in the Cathedral ---

<b>                         GARY
</b>          What has Thomas 3.~ Beckett got to
          do. witii the subject at hand? ---

<b>                         CSC RISSICX
</b>          If the Distinguished Senator from
          Nevada will refrain from ----
          Ba -halemew is beating with the gavel on his desk.

<b>                         BARTSALEMEW
</b>          Gentlemen: Gentlemen!

<b>                         CUT TO:
</b>
<b>          EXT.. THE MALL - DAY
</b>
          Tony is buying a hot dog at one of the dog-wagons on
          the Mall. as crosses and sits on a bench where Palmateer
          is sunning himself, looking at a newspaper.

<b>                         CLOSER
</b>          as Tony takes a bite of his hot dog.

<b>                         TONY
</b>          These are good. You ought to
          stave one.

<b>                         PALMATEER
</b>          I don't have a lot of time, Tony.

<b>                         TONY
</b>          First, I wanted to say that although
          I'm sure that I was set--um to be
          killed down there, I never thought
          you were mixed up in i t.

<b>          PA M TEER
</b>          Pine. ' clad to hear that.Now,
          what was it that you wanted?
          (C©NT TC =rD )

                         

                         

                         

                         

<b>                         I
</b>
<b>          122.
</b>
<b>                         CONTI': UED :
</b>
<b>                         TONY
</b>          Z hear that Morehouse is being called
          in by the CommI tree to testify.

<b>                         PALMATEER
</b>          So they tell me.

<b>                         TONY
</b>          Well if he does -- and. I'm telling
          you this as a friend --- he's going
          to bring the roof down on him self ---
          and you too.
          As Pa.lmateer puts the newspaper down, looks at Tony:

<b>                         TONY
</b>          That's definite, Stu.

<b>                         (THEN)
</b>          VIM sorry.

<b>                         CUT TO:
</b>
<b>          ?.XT. A MARILAND ROAD (NEAR PATUXENT) - ?IIG3T
</b>          We pick up an automobile moving south along a road
          that edges Chesapeake Bay.
          is Q.

<b>          INT. THE CAR - NIGHT
</b>
          We see that Tom Morehouse is driving. We are angling
          through the front. windshield as he turns off into a
          marina parking lot.

<b>          EXT. THE FLOATS - VIC T
</b>
          as Morehouse comes out onto the float, then climbs
          aboard. a nice little yawl, apparently his own.

<b>                         CLOSER
</b>          as Morehouse goes to the cabin. The snap lock has
          been unlocked and the hatchway is open. There is a
          dim light in the cabin.

<b>                         (OREEOUSE
</b>          Stu?
          P Z;? yR
          Down here.

                         

                         

                         

                         

<b>          123..
</b>
<b>          1 T. CAS= - NIGHT
</b>          as Morehouse comes down the four steps that lead into
          the cabin, then stops.

<b>          ANOT R ANGLE
</b>          Palmateer and Rocco Lampone are waiting for him in the
          cabin.

<b>                         MOREEOUSE
</b>          What the hell is this?

<b>          ANOT'E' ER ANGLE
</b>          as Rocco rises, drawing a twenty-two calibre pistol
          with silencer, and shoots Morehouse three times in
          the chest.
          As Morehouse goes down:

<b>                         LAMPONE
</b>          Is he dead?
          Palmateer kneels to check Morehouse.
          PAL.yATEER
          Yes.

<b>                         LAMPONE'
</b>          So are you.
          i Lampone had leaned down, put the gun to Palmateer's
          head and pulled the trigger.

<b>          EXT. CHESAPEAXE SAY -- DAWN
</b>
          A small Coast Guard patrol boat moves up Chesapeake
          Bay, flat calm reflecting a pearly pink sky. As Look-
          out on the flying bridge scans the bay ahead, then.
          i n to the sneaking tube.

<b>                         LOOKOUT
</b>          Bridge.

<b>          I . W'SMIZZOUSE - DAWN
</b>           As the Officer o-6' the deck, a yo:;.ng C: a 3cs,.:' .,

<b>                         ANSWERS:
</b>
                         

                         

                         

                         

<b>                         _T
</b>
<b>          124.
</b>
<b>                         CONTINGED:
</b>
<b>                         BOSUN
</b>          Bridge aye.

<b>                         LOOKOUT'S VOICE
</b>          That yawl looks like it's adrift.

<b>                         ANOTHER ANGLE
</b>          As Morehouse's sailboat drifts in the calm, it's
          sails up and motionless, it's tiller untended. The
          patrol boat noses up:

<b>                         BOSUN
</b>          Ahoy, the yawl. You all right? -
          No answer. The Bosun jumps aboard.

<b>                         BOSUN
</b>          Hello? Avon Lady. if anybody
          down there's doing anything they
          shouldn't, now's the time to -
          Tae Bosun has looked down into the cabin. 3e breaks
          off and turns back to the Patrol boat.

<b>                         0 BOSUN
</b>          Get on the horn to base. We got
          two bodies here.

<b>                         CUT TO:
</b>          k =. SFYLATE CAUCUS ROOM - DAY
          Arne Grundellius is at the witness table.

<b>                         GRUNDELLIUS
</b>          And in conclusion, I'd like to say
          that I believe these hearings have
          served a great, good purpose. in
          spite of the fears that the hear-
          ings would do hartto the fabric of
          democracy, our Nation's stronger to-
          day in the knowledge that we do not
          export revolution or use murder as
          an extension of diplomacy.

<b>                         ANOTHER ANG:
</b>          as Grmdelli.us fi.'2is:?es, Geary And one or wwo others
          rise, applatsd.i.r.g.

                         

                         

                         

                         

<b>          125.
</b>
<b>                         CONTIKTTED :
</b>
<b>                         GEARY
</b>          Hear. Hear.
          ANOTHER ANGLE - THE At7D IENCE
          Tony and Elizabeth are together. Elizabeth is applaud-
          ing Grundellius. Tony looks over at her.

<b>                         CUT TO:
</b>
<b>          INT. THE LOBBY (SENATE BUILDING) = DAY
</b>
          The meeting has broken up. Spectators, Legislators,
          News Sian and Womea,. Staff and Committee Members are
          leaving or standing in knots, gossiping.
          We pick up Elizabeth and Tony as they cross out, pausing
          to speak with Senator Geary and Grundellius who have
          stopped to chat.

<b>                         ELIZABETH
</b>          Mister Secretary, Senator Geary, I'd
          like to present Tony Adams.
          There are general greetings, and then, as they move
          S toward the doors.

<b>                         GEARY
</b>          I believe we have mutual friends
          in Nevada, Mister Adams.

<b>                         TONY
</b>          Yes Sir. I believe so.

<b>                         GEARY
</b>          If there's ever anything I can do
          you come see me.

<b>                         TCNY
</b>          I might just take you up on that,
          Senator.
          As they exit ----

<b>                         CUT TO:
</b><b>          EXT. WASHINGTON D.C. STREET
</b>          It is sunset. Tony and Elizabeth are walking toward
          the capital building, outlined against a pink sky.
          As they walk toward J.-_ we begin to hear t .he Gcdwa ther

<b>                         THEME
</b><b>          SLOW DISSOLVE
</b>
                         

                         

                         

                         

<b>          126.
</b>
<b>          EXT. CORLEONE COMPOUND - NIGHT
</b>
          We pick up the headlights of a car coming up the
          long approach driveway toward us. It comes past
          the gate, past the kennels for the guard dogs, past
          the guest houses and finally up to the main house
          where it stops.
          The front door to the house opens and Michael stands
          silhouetted against the block of yellow light. Tony
          gets out of the car and comes up to him. They embrace
          briefly and move into the house together.
          As the door closes behind them, we start to move up
          and back. The sound of the single trumpet can still
          be heard, playing slowly and sadly, the notes faintly
          resonant as if echoing through the narrow streets of
          some old hill village in Sicily.
          We have pulled up and up and up c ntil everting is
          darkness, as we ---

<b>          FADE OUT
</b>
<b>          THE END
</b>

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